Antiques and The Arts Weekly 10-11-24

American, Born Hungary

Kertesz, Capa & The Hungarian American Photographic Legacy

VIRGINIA MUSEUM OF FINE ARTS

Q&A: Kev Masso

Matthew Joseph King: Obituary & In Memoriam

Early American Furniture Dominates Country House & Hathaway Estates At Nye

Swann’s American Art Sale Sets Multiple Auction Records

American & Country Furniture

Highlight Amelia Jeffers’ September Great Estates Auction

Game Night At The American Folk Art Museum

Lounge Chairs, Lamps & Lavish Tableware Are Fall Trends At Sloans & Kenyon

Exquisite Estate Picks Find Favor At Ahlers & Ogletree

Eldred’s Commands Land & Sea With Combined Americana & Marine Art Auction

McNay Art Museum Takes A Trip With The Ballets Russes

Paintings & Art Glass Light Up Cottone’s Fine Arts & Antiques Auction

Milestone Celebrates An Extravaganza Of Antique Toys

Rare Books & Collectibles Lead In Hyde Park Country Auctions’ Grab-Bag Event

Book Reviews

Important Works of Art, Furnishings & Decorations, Friday, October 18 at 10am

Sally Michel Avery (American 19022003), Sunday Reader, Oil on canvas, $30,000-$50,000

Sam Gilliam (American 19332022), 'Sun', Collage of lace, lace relief and digital printing on fir wood veneer, $4,000-$6,000

Queen Anne Cherry Flat-Top Highboy, New England, Probably Massachusetts, Circa 1750-80, $3,000-$5,000

Alexander Calder (American 1898-1976), Loose Yolks, Gouache and ink on paper, 1966, $100,000-$150,000

William Joseph Anastasi (American 1933-2023), Sarabunde, Mixed media on paper, $8,000-$12,000

Arthur Roland (American 1935-2019), Portrait of a Young Man, Oil on Masonite, $2,000-$4,000

Frederick William MacMonnies (American 1863-1937), 'Pan of Rohallion', 1894, Bronze sculpture with brown patina, $6,000-$8,000

Gene Davis (American 1920-1985), Popsicle, Acrylic on canvas, 1969, $12,000-$18,000

Brutalist Modeled Bronze-Powder Suspended Resin over Wood Console Cabinet and Mirror, Paul Evans (American 1931-1987), for Directional Furniture Company, Circa 1976, $5,000-$10,000

English Ceramic Assembled Partial Dessert Service, Attributed to Coalport, 'Dragon in Compartments' (After Worcester Pattern Number 75), First Quarter 19th Century, $1,000-$1,500

Cyrus Edwin Dallin (American 1861-1944), Shackamaxon Chief, Bronze sculpture with brown patina, $25,000-$35,000

James Montgomery Flagg (American 1877-1960), The Spirit of America, Oil on canvas, $8,000-$12,000

Springford (American 1914-2003), Untitled, Mixed media, $8,000-$12,000

♦Exhibition: Monday-Wednesday, October 14-16, 10am to 4pm, plus Wednesday 5pm to 7pm; Thursday, October 17, 10am to 2pm; Auction: Friday at 10am.

♦Bid online, by phone, or by absentee bid. NO in person bidding.

♦To preview the complete catalogue and register to bid visit weschlers.com, invaluable.com or auctionzip.com

♦For more information on any lot in the sale, call 202-628-1281 or email info@weschlers.com

Our next Capital Collections Auction is December 13. Consignment deadline: November 1 We are always accepting quality consignments. Contact us at info@weschlers.com to learn more. Weekly Metro Online Auctions ♦ Quarterly Capital Collections/Gallery Auctions

Vivian

www.associatedestate.com

October 19, 2024 12pm EST

The Collector: Venezuela to Rhode Island

Single owner sale featuring artwork by Armando Reverón, Le Pho, 19 double elephant folios from John James

Audubon’s The Birds of America, Royal Copenhagen ‘Flora Danica’, fine English silver, Paulding Farnham for Tiffany & Co. & more

Kev Massoyan

Kev Massoyan is the CFO of a Manhattan-based private equity firm and has spent most of his career working in large financial institutions in New York. With his husband, architect Steven W. Spandle, he collects early American furniture and decorative arts. Kev’s interest in design and collecting is rooted in the family business he grew up around; his father is a goldsmith and diamond setter, his sister is a gemologist. Together with Kev’s mother, the family has operated their business — Massoyan Jewelers in northern New Jersey — for three decades. While Kev’s primary passion and day job is finance, he has found creative ways to stay connected to those family roots. Antiques and The Arts Weekly had the opportunity to speak with this money-guy-by-day, jeweler-by-night, for a show-and-tell of what he’s been working on.

Where did we first discuss doing this Q&A?

We were at the Philadelphia antiques show opening night, this past April and I mentioned how excited I was about a project, creating bespoke tuxedo stud sets. It was a bit of a random thing to bring up, but I was so immersed in planning and designing these sets at the time that it became this reoccurring non sequitur in most of my non-finance conversations. I was also very excited to be creating these pieces through the family store; I had the infrastructure at my fingertips to make this idea a reality.

What inspired you to start this project with your family store?

I was at a black-tie event and I thought about how uniform tuxedos look. Stud sets used to be a big deal and they are a great way to personalize, and express yourself, when wearing a tuxedo. Cufflinks are not as highly visible while stud sets are on full display. The shirt is essentially a white canvas for artwork. I decided I would create a prototype set for myself and see how it turned out. Around the same time, Jasperware was fresh on my mind because the family store had just come across some vintage Wedgwood jewelry. There doesn’t appear to be a lot of Jasperware stud sets out there, but there are many sets of earrings on the vintage market. So, I started buying up sets of the various designs with the intent of resetting them as stud sets in 14K gold.

Tell us about the process of creating this set?

Bezel-setting the Jasperware medallions is relatively straight forward. The trickier part was designing an effective backset mechanism to hold the studs

securely in the buttonholes. We looked at many examples (single spoke, double hinge, single hinge and others) and weighed the pros and cons of each. Many have experienced the issue of a stud falling out of a buttonhole during an event, so a stable mechanism is very important. Losing a single stud can be very upsetting, especially if it is a special set. I had a CAD drawing made of the design (which is the first step of producing a custom piece). While waiting for the backset mechanism, I had a simple bezel setting produced in 14k white gold. Once the

components were in hand, our jeweler (we have a team of craftspeople we work with for various tasks) assembled the pieces together. I made the first set using green Jasperware.

When you make additional sets, will your family sell them in the New Jersey store?

They’ll primarily be featured on the store’s YouTube channel. The store has brought in a talented jeweler who is filming his work on the bench and the business has amassed more than 300,000 subscribers in less than a year. It’s extraordinary.

And now that the prototype of the tuxedo sets is complete, the completion of the next set will be filmed so that the jeweler can show how the components are made and put together.

I’m looking to make 10 sets total in Jasperware. I have 20 pairs of vintage Wedgwood medallions in different colors, so the target is to make nine more sets. And, thereafter, I’ll move on to a completely different material; I already have in mind what that will be.

Jewelry making isn’t your day job. How do you reconcile or balance out the two?

You know, some people go fly fishing; I’m making bespoke tuxedo studs. I’m a CFO in the private equity world and finance is my primary passion, but jewelry making is a great way for me to stay connected with my family and have a creative outlet.

It makes sense if you think about who I’m around all the time: my free time is spent surrounded by designers and artists. My husband, Steven Spandle, is an architect. We are always visiting house

In the foreground are the first completed tuxedo stud sets created by Kev Massoyan, with green Jasperware medallions bezel set in 14K white gold and sliding spoke backset in 14K yellow gold. In the background are the original blue and black Jasperware medallions that will be used in the next tuxedo stud sets. ( continued on page 6 )

Peter Hurley photo.

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Lifetime Americana Collection To Be Sold By New England Auctions

BRANFORD, CONN. — After a lifetime of collecting exceptional pieces of Americana, Thomas F. Schutte and Tess L. Schutte have announced the auction of their extensive and meticulously curated collection presented by New England Auctions. The auction marks the culmination of more than six decades of passion and dedication to the art of collecting early American antiques, with a focus on New England and Pennsylvania artifacts. The auction, organized by Fred Giampietro, owner of New England Auctions, will be conducted over two days on October 10 and 11, offering collectors a rare opportunity to acquire pieces that reflect a lifetime of passion for Americana.

The Schutte collection began humbly in the early years of their marriage with the purchase of an old oak washstand and a Rayo lamp. This modest start ignited a lifelong dedication to the world of antiques, eventually leading the couple to focus on artifacts from Pennsylvania and New England. After relocating to Rhode Island in 1983, their interests narrowed further, centering on Eighteenth Century New England furniture and decorative arts, which they carefully selected for their originality, condition and form. Their collection grew as they restored historic homes in Newburyport and Ipswich, Mass., with Tom’s exuberance for authentic early American

pieces driving much of the expansion. Tess fondly recalls Tom’s enthusiasm, joking that “he never met an early chair he didn’t like.” The couple’s shared commitment to highquality antiques is evident in every piece of their collection. Reflecting on their collecting journey, Tess emphasizes the importance of the relationships they’ve built over the years.

“We have enjoyed and continue to value the enduring acquaintances and friendships made as we traveled to antiques shops and shows in Pennsylvania, New England and New York,” she said. “Thanks to their encouragement, guidance and mentoring, we were able to elevate and refine our collection over these many decades.”

Revolutionary War Artifacts & Documents On Display In Tarrytown

TARRYTOWN, N.Y. — The New York State Archives, Archives Partnership Trust and the New York State Museum, in collaboration with the nonprofit organization Revolutionary Westchester 250, have announced the opening of “Treason of the Blackest Dye: The True Story of Arnold, André, and the Three Honest Militiamen,” an exhibition at The Coach Barn at Pocantico, in Tarrytown, New York. The exhibition, which will be on view until December 11, tells the story of Benedict Arnold’s betrayal and the remarkable capture of British Army Major John André. It features a few of the most significant Revolutionary War artifacts, including the rarely seen original documents “André Papers,” which are part of the papers of George Clinton, the first governor of the State of New York (1777-1795, 18011804) and the only remaining “Fidelity Medallion” in existence.

The Continental Congress awarded the Fidelity Medallion to Isaac Van Wart, a West-

chester County militiaman who, along with John Paulding and David Williams, captured British Army Major John André on September 23, 1780. The medallion, explicitly created for these three men, was never presented again. It is considered the oldest military decoration in United States military history, preceding the Badge of Military Merit — the precursor to the modern Purple Heart Medal — by nearly two years. The two-sided medal features a Latin inscription that translates to “Love of Country Conquers” on one side and “Fidelity” on the other. After Van Wart’s death, the medallion remained in his family’s custody until 2023, when it was bequeathed to the historical collections at the New York State Museum.

The exhibition marks a pivotal moment in Revolutionary history, telling the remarkable story of how Benedict Arnold’s betrayal was uncovered by three Westchester County militiamen who captured British spy Major John

André, exposing Arnold’s treasonous plot to deliver West Point into British hands. The exhibit will be open every Wednesday and select Saturdays from 11 am to 3 pm, at The Coach Barn at Pocantico Center, which is at 200 Lake Road. For information, 914-524-6500 or www. pocantico.org.

Now, as they prepare to pass on their treasured collection, both Thomas and Tess express a deep hope that these items will bring as much joy to others as they have experienced. “The time has come to transfer the stewardship of our extensive collection,” Tess added. “Our hope is that these treasures will bring as much pleasure to others as they have to us.”

The auction by New England Auctions will provide collectors and enthusiasts with a rare opportunity to acquire pieces from a collection that has been thoughtfully assembled over the course of many years. New England Auctions, owned and led by Fred Giampietro, is a renowned auction house known for its expertise

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in American antiques and fine art. With more 40 years of experience, Fred has earned a reputation for offering highquality pieces and providing exceptional service to collectors and dealers alike. The auction will be conducted online and in person, allowing collectors from across the United States to participate in this event.

In-person previews: October 1-4 and October 7-8 from 9 am until 2:30 pm and October 9 from 9 am until 12:30 pm. Limited private previews available by appointment at www.newenglandauctions.com. New England Auctions is at 14 Business Park Drive. For information, 475-234-5120 or newenglandauctions.com.

BI-WEEKLY SUNDAYS 8:30 am to Noon Oct. 6, Oct. 20, Nov. 3

Regular Admission: $5 - 8:30am to 9:30am Free Admission - 9:30am to Noon Complimentary Coffee and a Variety of Goodies. Over 40 dealers. No sale tax. Early admission $30 pp 7:00am to 8:30am 603-506-9848

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•ALL BETTER ART, especially CONTEMPORARY ART: incl. any BASQUIAT, WARHOL, HURST, etc.

•ALL BETTER WATCHES incl. any ROLEX PATEK, VACHERON, etc.

• ALL SPORTS CARDS & MEMORALBIILIA

•ALL ANTIQUES, incl. SCULPTURES, FRENCH FURNITURE, BRONZES, ETC.

•ANY STAMP COLLECTIONS, COIN COLLECTIONS & DEALER STOCKS

•ANY BETTER LATIN AMERICAN ARTISTS, especially EMILIO SANCHEZ, etc.

•ALL DESIGNER JEWELRY, especially SIGNED PIECES

•ALL GOLD & SILVER BULLION and FRANKLIN MINT ITEMS

•ANYTHING BY TIFFANY

•ALL STERLING SILVER & JUDAICA

•ALL ENTERTAINMENT MEMORABILIA

•ANY BETTER AUTOGRAPHS, LETTERS DOCUMENTS

•THE RARER AND MORE UNIQUE, THE BETTER!

Rare Books & Collectibles Lead

In Hyde Park Country Auctions’ Grab-Bag Event

POUGHKEEPSIE, N.Y. — Hyde Park Country Auctions’ latest sale was on September 15. Conducted in three sessions — country primitives, Mission, Victorian, estate artwork, collectibles and sporting; Walter Addison artwork; and books and ephemera — the auction presented more than 700 lots from

the collection of Thomas & Gail Rockwell, the Walter Addison estate and various other estates and collections. According to owner Dominick Navarra, there were “a few people in-house, 50 absentee and phone bids and about 1,000 online bidders.” He also noted that, thanks to the Rockwell collection, this was the

early

most books he had ever sold in one sale and many of them were sold to book dealers.

Hitting the jackpot to become the sale’s highest-priced lot was a cast iron slot-machine style Watling Manufacturing Co., gum vending machine. The Twentieth Century tabletop machine, which weighed nearly 150 pounds, shot past its $1/2,000 estimate to achieve $27,600. Navarra said, “It was consigned by a local gentleman who purchased it from his college roommate in West Virginia in the 1970s — he warned me after he left ‘I don’t want it back — if it doesn’t sell, throw it in the dump.’ He told me it was found on his college roommate’s property in a chicken coop where it resided for many years before it was purchased by him.”

Despite it being jammed with 1950s-era nickels at the time of the auction, the slot machine-

Auction Action In Poughkeepsie, N.Y.

This cased set of sterling silver flatware in the Old Colonial pattern, likely Towle, 111 pieces, went out for $2,500 ($2/2,500).

The sale’s highest-achieving lot, this cast iron Watling Manufacturing Co., five-cent slot-style gum vending machine from the early Twentieth Century, 23 inches high by 16 inches wide by 13 inches deep, hit the jackpot and earned $27,600 ($1/2,000).

style vending machine was meant to operate for five cents, with a memo at the top reading “For 5c you get a package of gum, and the number of premium checks indicated above.” The quantities of those “gum checks” ranged from two to 20 depending on the luck of the operator’s pull. Navarra also told us that the man who bought the machine “said it was very rare — only the third known made of all cast iron, likely because they were all melted down during the wars.”

Many of the books and ephemera offered in this sale came from the collection of Thomas Rockwell, author of How To Eat Fried Worms, bookseller and brother of artist Norman Rockwell. Achieving the second-highest price overall was a July 1796 first-edition copy of President George Washington’s speeches. The book, A Collection of the Speeches of the President of the United States to Both Houses of Congress, at the Opening of Every Session, with their Answers…, was printed by Manning and Loring of Boston for Solomon Cotton, bookseller. These Congressional speeches were claimed

This rare first edition book of President George Washington’s speeches, printed in Boston in 1796, topped the Rockwell collection, achieving $5,750 ($4/8,000).

From the Rockwell collection, this book, The Constitutions Of The United States According To The Latest Amendments, published in Philadelphia by Cary, Stewart and Co., 1791, was bid to $2,125

by a LiveAuctioneers buyer for $5,750.

Another rare book from the collection, The Constitutions Of The United States, According To The Latest Amendments: To which Are Annexed, The Declaration of Independence; and The Federal Constitution; With The Amendments Thereto., found a buyer for $2,125. Published by Cary, Stewart and Co., Philadelphia, in 1791, this edition contains the constitutions of each of the 13 original states as well as “The Constitution Of Vermont, Not In Any Former One,” as noted on the title page.

The third-best performance from Rockwell’s library was awarded to a copy of A New Description of Merryland. The book, a collection of erotic fiction, takes its name and motifs from a Seventeenth and Eighteenth Century English genre in which women’s bodies were described through topographical metaphors. This peculiar book, a fourth edition, was published in London in 1741, and sold to an online buyer for $1,625. Navarra said this book sold to an online buyer and he really wasn’t sure why it did as well as it did.

Bids rolled in for a 14K gold cigarette case from the early to mid Twentieth Century. With an impressed geometric pattern on the cover, the case was in “very good condition” and it sold to an antiques dealer bidding over the phone for $4,600.

Other precious metals also found favor, with a sterling silver flatware set in the Old Colonial pattern bringing $2,500 from an online trade buyer. The auction catalog noted that the 111-piece set had various hallmarks, some appearing to be for Towle Silversmiths. Housed in a wooden chest, the set weighed 101 troy ounces, excluding the 12 dinner knives.

Coming from a Rochester, N.Y., estate was an Arts & Crafts style hammered copper trinket box by Massachusetts/Connecticut artist Frank Gardner Hale. The small box featured a stylized iridescent enameled fish illustration on its hinged lid. Signed “F.G. Hale” on the base, which had small feet, the early Twentieth Century box exceeded its $1,200 high estimate to earn $1,725. Navarra said this little box garnered a lot of attention but ultimately a phone bidder prevailed.

Rounding out the top eight lots was a “Speaking Dog” mechanical bank. The child and dog bank was impressed with patent dates of 1885 and 1875. “It was broken, but it had really beautiful, all original paint on it. I found it in the basement of a local home,” Navarra said of the bank. The Nineteenth Century example was in good condition, though the iron activation lever on the front and the coin cover on its bottom were missing. It spoke to bidders, fetching $1,625. Prices quoted include the buyer’s premium as reported by the auction house. The firm’s next Country Americana sale will be in December. For information, www.hpcountryauctions.com or 845-471-5660.

This early to mid Twentieth Century cigarette case, 14K gold, 3½ by 3 inches, found a buyer for $4,600 ($3/5,000).

($3/5,000).

This Nineteenth Century “Speaking Dog” cast iron bank sold to an internet bidder for $1,625 ($1/2,000).

Review by Carly Timpson, Assistant Editor Photos Courtesy Hyde Park Country Auctions

This

Twentieth Century Arts & Crafts hammered copper trinket box by Frank Gardner Hale (1876-1945), 2 inches high by 5½ inches wide and 4 inches deep, made $1,725 ($600-$1,200).

( continued from page 1 )

museums, antiques shows, and spending time with interior designers, museum curators and people in the design industry. Having a fun project like making bespoke stud sets fits right in.

Would you make anything other than tuxedo studs?

No, and I get that question all the time. I know it’s a bit unusual to be obsessed with just tuxedo studs. And believe me, I’m very aware that there are other things going on in the world.

But I think this is important, and there’s a particular need for it. I want to not only create but I want to put this out in the milieu: to help elevate and add something of my own to our shared social and visual experiences.

Did growing up in a small business give you any benefits to your career in finance?

Yes, watching my father and mother run a strong business through multiple market cycles was a masterclass. Through the years, I have had a front row seat on how to run a business and I carry a lot of those lessons with me in my day job. And the ground was shifting all the time, in terms of the macroenvironment — especially when you’re dealing with raw materials and commodities. For example, you can imagine in the 2000s how industry players up and down the chain adjusted strategy when there were large rallies in the price of gold. I learned how money worked early on, while doing so in the context of artwork and creativity.

Was the business always in New Jersey, in the same location?

The retail shop has always been in Old Tappan, N.J. But earlier on, my father had another company with his two brothers, on Fifth Avenue in Midtown Manhattan, focused on high quality large production run jewelry, much of it sold in department stores. During what I call the “peak production” years in the 1980s, my uncles and my father had a 35-person shop at 581 Fifth Avenue.

What is your father’s area of expertise?

He’s both a goldsmith and a diamond setter; almost always, you’re either one or the other, but he is both. He learned one from his older brother (a master goldsmith) and one from his younger brother (a master diamond setter). They all started in the industry very early in life, they’re at the top of their field and are responsible for teaching and training many others over the years.

What was it like to being around so many craftspeople as a child?

It was incredible and constantly buzzing — literally — especially in the years when my father and uncles were working together. Everything in the workshop was being crafted by hand and everyone in the shop had their particular expertise. The goldsmiths were in their group, the diamond setters were in another group and so on. There were even people tasked with sorting through and categorizing parcels of precious stones.

In the 1980s, we were not using computerized CAD drawings so there was a room filled with casts and molds for the various designs. It was a serious place with a lot of talent; some of the artisans that came out of that workshop went on to hold notable positions with some of the more familiar names like Tiffany and Harry Winston. The shop also felt like you were somewhere important. I remember looking outside my father’s fourth floor office window and seeing the American flags up the street at Rockefeller Center. There was so much new and exciting energy abound. My Armenian parents both immigrated

to the United States in the 1970s and met one another here in the States; I was very aware at a young age that we started from scratch, that this success was newfound. We’re all very thankful and talk about those days with humility.

You pursued a career in finance when so many of your family members were in the jewelry making industry. Did they ever try to pull you in?

There was no intense pressure to join the business, but I vividly remember a time early on when they tried to test my ability and interestlevel.

I was around 12 years old and they threw me in the deep end and tried to assess if I could pavé-set a diamond, to see if I had the natural intuition to grasp it right away. As a proxy for gold, they flattened a piece of scrap metal in a vice. They had me drill a hole, place the stone in the center and try to push the surrounding metal above the edges of the stone, just as you would do with gold. It was a disaster. They quickly decided that I was not a natural when it came to diamond setting. Finance emerged as my main passion. And, I think it all turned out just fine.

So what’s next and what are you looking forward to?

Steven and I have a number of events between now and the end of the year and I am excited about spending time with the talented people he works with. I’m looking forward to the antiques shows that are coming up, namely in San Francisco, then Wilmington, Del., and then the Winter Show at the Park Avenue Armory.

But I’m mostly excited about my career and continuing to grow as a finance professional, in a market that’s constantly changing. I’ve been doing this for 20 years and there is never a dull moment. And I feel very fortunate that I can work in my industry here in New York, and at the same time be in such close proximity to the art and design world. Both sides of my brain feel like they’re in high gear.

Aren’t you exhausted?

No way, I’m ready for more.

—Madelia Hickman Ring

Kev’s father (right, age 18) teaching his uncle (left, age 15) goldsmithing in 1967.

Tuxedo studs created by Kev Massoyan, with green Jasperware medallions bezel set in 14K white gold, with sliding spoke backset in 14K yellow gold.

Period Americana, Britishware, Chinese Porcelain In October 22 Sale

PERKASIE PENN. — Stenella Auctions will present an exclusive auction from the estate of the late George E. Harrison III, a renowned Americana collector. This sale will feature a collection of period antiques, Colonial Williamsburg reproductions and fine art, all available for online bidding.

"This collection features more than 700 lots of period Americana, folk art, Chinese and British antiques, along with one of the finest collections of Kittinger and Colonial Williamsburg reproductions still in private hands. A collection like this is unique and rarely seen in its entirety," said Jim Stenella, auctioneer and expert on Eighteenth Century period furniture and museum reproduction decor.

The auction will showcase a

variety of items, including period Americana such as an original New England paint-decorated dressing table, early Nineteenth Century primitives, Eighteenth Century furniture, and Pennsylvania folk art. More than 50 pieces of early Eighteenth Century Chinese porcelain will also be featured, alongside folk art treasures like a rare Native American Indian weathervane, early samplers, handpainted theorems by David Ellinger, stoneware and period copper. Furniture by Kittinger, Kindel, Saybolt Cleland and custom Eighteenth Century-style child’s pieces will be available, as well as more than 25 antique Persian rugs, including Heriz, Serapi and Tabriz. The clocks on offer include Lord Dunmore Colonial Williamsburg and Simon Willard grandfather

Andrea Carlson At The Museum Of Contemporary Art, Chicago

CHICAGO — The Museum of Contemporary Art, Chicago (MCA) presents “Andrea Carlson: Shimmer on Horizons,” on view through February 2.

Andrea Carlson (Grand Portage Ojibwe/European descent, b 1979; based in northern Minnesota and Chicago) considers how landscapes are shaped by history, relationships and power. Her artworks imagine places that are “everywhere and nowhere,” visualizing these shifting yet ever-present dynamics. Grounded in Anishinaabe understandings of space and time, the works in this exhibition reflect on how land carries memories of colonial expansion and violence, as well as Indigenous presence and resistance.

Across painting, video and sculpture, Carlson organizes

imagined landscapes around one constant—the horizon. This line is reminiscent of her homelands on Lake Superior. It is also a significant art historical trope that artists have employed to depict territories as vast and vacant, ripe for the taking. Carlson’s prismatic works are not empty: they are densely layered with an abundance of motifs, making reference to the tactics of colonialism as well as her family and peers, Ojibwe culture and Indigenous sovereignty. Confronting ongoing histories of erasure and dispossession, Carlson proposes that what appears to be lost can be remade, reimagined or otherwise regained.

The Museum of Contemporary Art, Chicago is at 220 East Chicago Avenue. For information, 312280-2660 or www.mcachicago.org.

clocks, Chelsea House carriage clocks and the Elmer Stennes girandole clock. Additionally, there will be a selection of Colonial Williamsburg sterling silver flatware, decorative sterling pieces and more than 50 rare Kittinger furniture items alongside decorative porcelain and metalware. Art enthusiasts can also look forward to early Nineteenth Century oil paintings of historical significance.

George E. Harrison III, alongside his wife Linda, were celebrated for their meticulously curated collection of Americana. Their home served as a showroom of period pieces, reflecting their deep passion and expertise. Their business, Americana Interiors, highlighted their extensive knowledge of Kittinger furniture and Williamsburg-style decor. Their home

was more than just a residence; it was a meticulously curated showroom, akin to a museum. The stunning home that boasts unique architecture that blends timeless elegance with historic charm will also be auctioned off.

The date for the house auction will be determined at a later date. George Harrison was renowned for his unique approach to engaging buyers, offering not only exceptional items but also an educational and immersive buying experience. The list of distinguished clients he worked with over the years is extensive.

Following George’s passing in March and in honor of their beloved pets, the proceeds from this auction will benefit the SPCA and other animal charities. This auction presents a once-in-a-lifetime opportunity to

acquire significant period pieces, rare collectibles and exclusive items from a distinguished collection, all without reserve. Stenella Auctions is at 104 S. Second Street. For information, www.stenellaauctions.com or 215-453-8490.

er 101 years on Lexington Avenue, The Old Print Shop has moved to a new location.

Stenella Auctions—

Nineteenth Century burl elm bowl.

Kittinger Centennial chest Mabel Brady Garvan highboy.

Large selection of antique Chinese canton.

An important and rare image in memory of Alexander Hamilton, engraved by J. Scoles, c.1805.

‘History, Luxury, Sport: Automobiles In Newport’ At The Audrain Automobile Museum

By Clifford Atiyeh NEWPORT, R.I. — Hidden

near the idyllic coastline and stately Victorian mansions of this Rhode Island city is a lost racetrack. Just north of the same roads where traffic grinds to a halt each summer, young

men sped in circles as Newport’s high society cheered them on, the air filled with ungodly noise, smoke and dust. They battled each other in expensive cars, on dirt, sand and the streets. In 1900, to be idle and rich meant a chance to compete in what were

among the nation’s first automobile circuit races. Newport is at the heart of the birth of American motorsport.

Some of those early race cars are now on display in Newport’s Audrain Automobile Museum. The latest exhibit, “History, Luxury, Sport: Automobiles in Newport” highlights the rarest, most expensive vehicles from the early Twentieth Century through 1980, all of which have historic and modern ties to the city.

“The story of Newport and Rhode Island in automotive history, especially that of motorsports, is largely unknown,” said Donald Osborne, CEO of the Audrain Group, and who helps oversee the museum. “This exhibition shines a remarkable light on that story, the people and the

amazing technology of the age.”

The white 1901 Panhard is the exhibit’s highlight. What appears today as a rudimentary open-top carriage was a million-dollar supercar brimming with engineering prowess. Starting in 1900, it raced four times at the Newport Automobile Races, a rabblerousing series that 22-yearold Willie K. Vanderbilt hosted at a dirt horse track in Middletown, R.I., on the streets of Cranston, R.I., and Newport’s Second Beach. Competitors poured into Newport. By 1903, their cars surged in power and traveled so dangerously fast that Vanderbilt was practically run out of town (the last straw was his attempt to shut down Ocean Drive, which quite offended the residents).

“They were racing on the street, getting into trouble,

much like kids today,” said David de Muzio, the museum’s executive director.

But Vanderbilt continued to race abroad, and with a car identical to the very 1902 Mercedes Simplex in the museum, he hit nearly 70 miles per hour in a street race to Paris. During that same year in France, he set a land speed record in a Mors Type Z. A surviving example of that car, with its huge engine, pioneering hydraulic shock absorbers and no front brakes, sits in the exhibit.

“This was a billionaire’s game of the era,” de Muzio said. “You’re paying $20,000 for a car, in 1901, and 100 percent of the import tax.”

At home, Vanderbilt moved the crowds from Newport to Long Island and christened the Vanderbilt Cup. Several of those race cars, including a 1907 Renault and a 1911 Fiat, are gleaming in all their original glory at the Audrain. More cars across New England are part of the collection. A Winton Bullet, the car which famously lost to Henry Ford in 1901, comes from the Larz Anderson Auto Museum outside Boston.

“The amount of innovation in the first decade of the Twentieth Century has never been reproduced since,” de Muzio said. “In the gallery, it’s fun to see those cars in contrast to the newer vehicles.”

Those cars represent winners from the Audrain Newport Concours d’Elegance, an annual show hosted by the museum each October. Take the 1947 Willys CJ2A, the first civilian jeep sold after World War II, owned by a young collector who placed second in the show’s “30 Under 30” category. Rarer still are the one-off 1953 Abarth 1100SS Ghia Coupe and a blue 1961 Pontiac Ventura “Bubbletop” coupe, a high-performance “family car” which predated the famous Pontiac GTO.

“History, luxury and sport also so specifically matches with what has made and makes Newport the city it is,” Osborne said. “The Audrain Newport Concours d’Elegance has reflected the best of those in celebrating the art and importance of the automobile in our society.”

The newest car in the Audrain exhibit is a red, wedge-shaped BMW M1, the brand’s first midengine car intended for the race track whose development included work by Lamborghini which has a devoted following. Many of these cars, some loaned by Audrain supporters across New England and leading collectors and institutions from across the country, put Newport on the map for today’s automotive historians and enthusiasts. And thanks to Vanderbilt’s boisterous racing, the lobster and sailing capital that is Newport is also forever a car town.

The exhibit runs through December 8. The Audrain Automobile Museum is at 222 Bellevue Avenue. For information, www.audrainautomuseum.org or 401-856-4420.

1901 Winton Bullet (left), 1901 Panhard et Levassor Type B1 (right). Credit: Audrain Automobile Museum.

Credit: Audrain Automobile Museum.

1927 Isotta-Fraschini Tipo 8A S Fleetwood Roadster, built for movie star Rudolph Valentino. Best of Show and Most Elegant Award winner of the 2019 Audrain Newport Concours d’Elegance. Credit: Audrain Automobile Museum.

1902 Mercedes Simplex 40hp. Credit: Audrain Automobile Museum.

1980 BMW M1 Coupe (center). Credit: Audrain Automobile Museum.

1953 Abarth 1100SS Ghia Coupe. Credit: Audrain Automobile Museum.

1902 Mors Type Z (left). Credit: Audrain Automobile Museum.

Critical Acclaim & Controversy: ‘Lolita’ In Paperback At CT River Book Auction

SOUTH GLASTONBURY,

CONN. -- The 1950s saw the emergence of several authors whose writings would generate considerable controversy and, in some instances, critical acclaim. On Friday, October 18, at the South Congregational Church, Connecticut River Book Auction offers just such an author and book for sale.

Lolita by the Russian-American writer Vladimir Nabokov revolves around the protagonist’s obsession with Dolores Haze, a pubescent child. Mental health clinicians refer to this behavior as hebephilia. Derived from the Greek, Hebe is the goddess protector of youth and the suffix philia denotes fondness. Nabokov’s fictional character, Humbert Humbert, has just such a fascination with the 12-year-old daughter of Charlotte Haze

who reawakens the sexual urgings he had for an earlier lost love.

The novel unfolds with Humbert’s involvement with the widow and child leading to the widow’s death and (one might

say) a road trip and relocation with Dolores to a different community. The pair eventually separate, reconnect and Humbert, upon learning of the circumstances surrounding the separation, takes an action that

CMA Acquires Ancient Greek Bronze Helmet & Works By Tanning & Rembrandt

CLEVELAND, OHIO — The Cleveland Museum of Art (CMA) announces the acquisition of three new pieces including an ancient Greek helmet, an oil painting by Dorothea Tanning and a drypoint etching by Rembrandt van Rijn. Used by hoplite warriors fighting in phalanx formations, Corinthian helmets were designed to cover nearly the entire face and head, providing maximum protection but limiting vision, hearing and movement. Seamlessly made from a single piece of bronze, this remarkably preserved helmet has a rounded, domed top, a substantial nose guard, rounded triangular eyeholes, large integrated cheekpieces and a flaring rear neck guard. The gentle curves and sharp angles evoke the head and face that it protected.

Although the helmet’s archaeological find spot is unknown, it has a long and well documented modern his-

tory, stretching back to a 1934 sale held by Sotheby’s in London, where it was listed as the “Property of Capt. E. G. Spencer-Churchill,” an esteemed collector of antiquities. The first of its kind to be acquired by the CMA, this Corinthian helmet will be on view in the Dr John and Helen Collis Family Gallery of Greek Art (102B) beginning later this year.

One of Dorothea Tanning’s finest and most admired works, “Musical Chairs” is a visually compelling, generously scaled oil painting depicting a pre-adolescent girl in a strikingly unruly domestic interior.

Before becoming a professional painter and sculptor, Tanning worked as a fashion illustrator, solidifying her lifelong interest in the expressive qualities of cloth. With its deliberately uncanny subject, composition and tenor, “Musical Chairs” is an excellent example of Surrealism, the early to mid Twentieth Century avant-garde movement that investigated the creative potential of the irrational subconscious mind.

“Musical Chairs” was previously sequestered in a family’s private collection for more than 70 years. It will be on view in the Hammond Hemmelgarn Family Gallery of American Modern Art (226B) beginning in early December.

Considered among the most significant works of art from the Baroque period, Rembrandt van Rijn’s prints number over 300; today, they continue to inspire through the emotion and humanity of their subject matter as well as their beauty and technical mastery.

Created late in Rembrandt’s life, in 1657, “Saint Francis Beneath a Tree Praying” is one of Rembrandt’s most spiritually moving works, depicting a hermit saint sequestered in the wilderness and praying

eventually leads to his arrest. Nabokov’s controversial novel was first published in 1955. He approached the French publishing firm of Olympia Press to print the book after refusals by Viking, Doubleday and other American publishing houses. Olympia was started in 1953 by Maurice Girodias and was formerly known and operated as Obelisk Press by his father from whom he inherited the firm. Until the late 1950s, Girodias was able to publish titles such as Burroughs’ Naked Lunch, Donleavy’s The Ginger Man and Reage’s Story of O without French censorship. It would be three years later in 1958 that G.P. Putnam & Sons would issue the first American edition. Interestingly, the Putnam edition sold 100,000 copies in the first three weeks of release. It was a feat that had

not been seen since the publication of Gone with the Wind decades earlier.

Lolita has been damned as “sheer unrestrained pornography” by John Gordon and praised by Graham Greene as one of the three best books of 1955. Despite being on the Times and Modern Library’s list of 100 best novels, it remains a controversial hot point in modern fiction.

The two-volume paperback copy issued by Olympic Press that Connecticut River Book Auction has for sale is a fourth printing. What makes this copy of interest is that Volume I is signed by Nabokov on the title page.

The South Congregational Church is at 949 Main Street. For further information, www. ctriver-bookauction.com or 860-908- 8067.

to a crucifix near an ancient tree. A landscape rising to the right reaches a distant structure on a hill.

Distinguished for its mixed etching and drypoint technique and impression quality, the work is one of 46 known impressions of the second and primary state of the etching.

The Cleveland Museum of Art is at 11150 East Boulevard. For information, 216-421-7350 or www.clevelandart.org.

Notable Prices Recently Achieved At Various Auction Houses

Across The Block

Birger Sandzen Transitional Landscape

Tops Soulis Auction

LONE JACK, MO. — Birger Sandzen’s (18711954) oil on canvas was the top lot in Soulis Auction’s September 21 late summer gallery sale. The large, transitional oil on canvas, selling for $24,600, was signed and dated by Birger Sandzen lower left front. The buyer, a collector in Colorado, was bidding online. Catalog notes observe that the painting, with its date of 1910 is noteworthy for marking the transition the painter’s evolution from his early period to a more mature period, one that has been described as ‘’the most dynamic and important of Sandzen’s career.’’ Depicted are wildflowers among high rock formations, identified as most likely a geological feature near Lindsborg, Kan., now known as Coronado Heights, one of the artist’s favorite subjects. The painting stemmed from private Colorado family’s collection of more than 30 years and is remaining in that state. For information, 816-6973830 or www.soulisauctions.com.

Nadeau’s Bidder Gets A Good Buy On Never-Worn Coco Chanel Blazer/Jacket WINDSOR, CONN. — At Nadeau Auction Gallery’s Sneaker Collection and Couture sale on September 24, a women’s Coco Chanel white cotton women’s blazer/jacket surpassed its $100/300 estimate to claim $1,380. It was the top lot in the 462-lot auction. With embroidered borders and interlocking Coco Chanel logo buttons, the stylish outerwear, size 48, was in never-worn condition, which would mean that it retails for $4,355. For information, 860-2462444 or www.NadeausAuction.com.

Durer’s Rhino Woodcut Storms Eldred’s Works On Paper Auction EAST DENNIS, MASS. — Of the 171 lots on offer in Eldred’s Works on Paper sale on September 26, it was Albrecht Durer’s (Germany, 1471-1528) “Rhinoceros” woodcut from 1515 that had the highest result, finishing at $26,880. According to the catalog note, Durer — who never saw a rhinoceros — probably drew his inspiration from a letter and drawing by Valentin Ferdinand, who wrote about the rhino given to King Manuel I of Portugal. For information, 508-385-3116 or www.eldreds.com.

All prices include buyer’s premium.

Swedish Lounge Chairs Sit Pretty In SJD Auctions Sale

Herend Hussar On Horseback Hews High At Bodnar’s Auction Sales MONMOUTH JUNCTION, N.J. — On September 18, Bodnar’s Auction Sales presented Treasures of Elegance Collect Fine Antiques, a sale featuring estate treasures from several local collections and including a large selection of Wedgwood Jasperware, Herend, porcelain, dinnerware, Limoges, Waterford, Lalique and more. A Herend porcelain figurine depicting a “Hussar on Horseback,” marked in porcelain by artist Vastag Gyorgy of Budapest was sold for $990. Measuring 13 inches tall by 10 inches long and 4 inches wide, the figurine was part of a large Herend collection in the sale and was the top lot for this category. For information, www.bodnarsauction.com or 732-631-3347.

Antique Bottle Distills Tale Of Ahalt’s ‘Rock & Roll’ Rye Whiskey FREDERICK, MD. — It’s a bit old but so is the bottle. Back on June 26, Trout Auctioneers sold an antique Ahalt’s Pure Old “Mountain Spring” Maryland Rye bottle for $3,190. The distillery was located in Burkittsville, Md., There is an extensive history at the blog site www.pre-prowhiskeymen. blogspot.com but a fun fact it conveys is that “John D. Ahalt (1848-1916), one of Maryland’s storied farmer-distillers, believed that ‘rocking and rolling’ his whiskey barrels on sea journeys to far-off places improved the quality of the liquor. Accordingly, he shipped his products to Rio de Janeiro and back, marketing the result as ‘Whiskey that is all Whiskey.’” For information, 301-898-9899.

George II Consoles Soar In Litchfield LITCHFIELD, CONN. — Bidders from around the world dialed in for a pair of George II carved pine console tables, carved in the mid Eighteenth Century in the manner of Matthias Locke. Despite replaced marble tops, cracks and reinforcements, interest drove the pair to $195,000, which came from the Washington, Conn., collection of a renowned fashion executive and had been estimated at $10/20,000. An international phone bidder prevailed to win the pair. For information, www. litchfieldcountyauctions.com or 860-567-4661.

AMENIA, N.Y. — Notable in SJD Auctions’ September 17 sale was a pair of Postmodern 1970s Swed-Form lounge chairs (made in Sweden) that popped to $402. The sale’s highlights included an antique Enterprise Mfg. Co., cast iron coffee mill, Fonda Johnstown & Gloversville railroad lantern, Birge, Mallory & Co., shelf clock and much more. Auctions are conducted on AuctionNinja but there are live previews at the firm’s 35 Mechanic Street address. For information, 845-489-7408 or email sjdauctions@outlook.com.

Mary Abbott ‘Self Portrait’ Stunning In South Bay Auctions Sale EAST MORICHES, N.Y. — Acquired by the consignor from the artist, an oil on unstretched canvas painting by Mary Abbott (American, 1921-2019), “Self Portrait,” 1941, outperformed its $1/2,000 estimate and sold for $10,080 at South Bay Auctions on September 12. Signed and dated on canvas verso, the painting measured 21-3/8 by 17-5/8 inches. One of the last living members of the Abstract Expressionist movement, Abbott was represented by McCormick Gallery in Chicago until she died at the age of 98. Born in New York City, Abbott’s lineage included John Adams, second US president, who was her great, great, great, great grandfather. For information, 631-878-2909 or southbayauctions.com.

Heritage’s Texiana & Historical Americana Led by Civil War Soldier’s Letter Archive DALLAS — More than 300 letters home, written by Friend H. Smith that spanned his entire service with Connecticut’s 20th Infantry, from August 14, 1862, to June 26, 1865, were the top seller I Heritage Auctions’ Historical Manuscripts Including Texiana Signature auction on September 25. Smith was present at Chancellorsville, Gettysburg, the Atlanta Campaign and Sherman’s March to the Sea and his letter provided a vivid account of the unit’s service through the war. The archive sold for $93,750, the highest price in a nearly 400-lot sale that totaled $1,146,570. For information, www.ha. com or 214-528-3500.

Auction With South Dakota History To Be Conducted In Rapid City

RAPID CITY, S.D. — Dr Roger Knutsen, a renowned antiques collector for more than 50 years, is set to host an auction showcasing his extensive collection focused on South Dakota history and the captivating heritage of the Black Hills. The auction will take place on Thursday, October 17, at 4 pm at the Comfort Inn. Attendees can participate in a live auction and also join the bidding online for added convenience.

Knutsen’s collection reflects a profound appreciation for South Dakota’s rich history and diverse culture. The auction will feature unique items ranging from Native American beadwork to Old West and cow-

boy memorabilia.

Notable pieces include the original telegram, sent to American sculptor Gutzon Borglum (1867–1941) from his mother in 1927, congratulating him on starting the Mount Rushmore project; a silver chalice won in a poker game by one of Deadwood’s most historical characters, “Poker Alice”; and an original Confederate Virginia Infantry flag. The auction will also include a rare beer and liquor advertising, an array of cowboy and Native American items, an assortment of political memorabilia, artwork, advertising, signs and more. Many pieces that showcase the region’s his-

Historic Odessa Foundation Presents—

torical significance.

“This auction is a celebration of South Dakota’s vibrant history and the unique stories that each piece tells,” said Knutsen. “I am excited to share my passion for antiques and the historical importance of these items with the community.”

In addition to the South Dakota history artifacts, collectors will find an array of antique toys, art and antiques. This event presents a rare opportunity for collectors, historians and anyone interested in the rich heritage of the Black Hills to acquire pieces that are not

‘An Artist For All Seasons: The

Paintings Of Laussat Richter Rogers’

ODESSA, DEL. — An exhibition of paintings by the accomplished Delaware architect, painter and historian, Laussat Richter Rogers (1866-1957), is currently on display at the Historic Odessa Foundation, through October 27.

The exhibition, “An Artist for All Seasons: The Paintings of Laussat Richter Rogers” features a collection of plein air paintings, many of which are on public display for the first time, that highlight the vibrant landscapes and local scenes of Delaware throughout the seasons.

Rogers, a multi-talented artist, is known for his significant contributions as an architect, painter, and preservationist. This exhibition presents a unique opportunity to rediscover Rogers’ legacy, showcasing colorful and evocative depictions of the region’s early 20th century town-

scapes and natural beauty.

Born in San Francisco, Cal., to a family originally from Delaware, Rogers moved to New Castle after graduating from the University of California, Berkeley. He furthered his education at Columbia University’s School of Architecture and later spent two years in Europe, where he honed his skills in figure drawing and architecture.

Professionally, Rogers was known for his work with the US Treasury and as a partner in the architectural firm, Totten & Rogers. His architectural legacy includes projects like designs for the University of Delaware and churches in New Castle. However, after World War I, he shifted focus toward painting, especially plein air landscapes depicting Delaware’s scenery in all seasons. His artworks, cherished by collectors, are still exhibited, reflecting

only valuable, but also steeped in history. Participants can expect a lively atmosphere, and both in-person and online bidders will have equal opportunities to acquire these antiques and memorabilia. All proceeds from this auction are being

donated to local and regional charities.

The Comfort Inn is at 1333 North Elk Vale Road. For more information about the auction or to register for online bidding, contact Girard Auction & Land Brokers at 605-267-2421 or see www.girardauction.com.

The Connecticut River Valley Antiques and Historic Homes Show & Sale Haddam Elementary School, Higganum, CT

his impact as a painter.

Visitors will enjoy a rare glimpse into Rogers’ artistic mastery, with pieces sourced from private collections across the state. The Historic Odessa Foundation is honored to bring this important collection to the public and to highlight the cultural contributions of one of Delaware’s own.

Historic Odessa Foundation is at 201 Main Street. For information, 302-378-4119 or www.historicodessa.org

Sat, Oct 19, 10 to 5 & Sun, Oct 20, 11 to 4

This Antiques Show will feature 30 of New England's Best Antiques Dealers selling fine antiques in room settings, plus sessions on restoring Historic Homes. Sponsored by the Haddam Historical Society. For more info. see www.haddamhistory.org

Three Graces Antiques, FL

Randi Ona Antiques, NJ

Dennis & Valeris Bakoledis, NY

Morgan MacWhinney, NY

Willow Springs Perennial, NY

Witt’s End Antiques, NY

Stone Block Antiques, VT

Hanes & Riskin, CT

Nathan Liverant & Son, NY

New Enland Home Antiques, CT

Palisades Trading Co, CT

Sasha’a Antiques, CT

The Victorian, CT

Chester Cwilichoski, CT

Captain’s Quarters, MA

Colette Donovan, MA

Dark Flowers Antiques, MA

David & Donna Kmetz, MA

Docengine, MA

Garvey Rita Art & Antiques, MA

Red Shutters Antiques, MA

The Galleries at Knollwood Antiques, MA

Up Your Attic Antiques, MA

East Boothbay Trading, ME

Goosefare Antiques, ME

Martin J. Ferrick Antiques, ME

W. M. Schwind, JR, ME

Richard Lawrence Greene, RI Adult Admission $10.00; With this BEE ad $9.00 Goosefare Antiques & Promotions, John & Elizabeth DeSimone PO Bx 45, Saco, ME 04072 (800) 641-6908 goosefare@gwi.net

“Immanuel Episcopal Church on the Green, New Castle Delaware” by Laussat Richter Rogers, 1939.

Michaan’s Gallery Auction To Offer Fine Art, Furniture & Asian Art

ALAMEDA, CALIF. — Michaan’s is gearing up for another round of auctioneering with an October 18 gallery Its fine arts department will offer multiple paintings, Asian Art will have on offer artwork from master artists, while furniture and decorations will auction multiple valuable, vintage decorations. Jewelry and timepieces is sure to impress with bracelets being at the top of the department’s offerings. Finally, Michaan’s silver and objets de vertu and textiles departments are offering silver and masterful pieces.

The crux of the October gallery auction is easily Pietro Barrucci’s (Italian, 1845-1917) “Stagno Maccarese,” 1897, oil on canvas painting ($10/15,000). A member of the Roman “Campagna Romana Artists,” Barrucci is particularly appreciated for his ability to depict the essence of Roman countryside, most notably its swamps. Wetlands are likely not the first thing one thinks of when ruminating on Rome or Italy, and this uniqueness in Barrucci’s work, not to mention his skill, is one reason it is so well-regarded. The grand scale of this painting may also suggest it was painted for an international exhibition, which further adds to the work’s beauty and air of mystery. Also on offer is “Leslie Carter,” an Art Nouveau poster designed by Alphonse Maria Mucha ($7/10,000). This poster was designed and printed in the United States for the promotion of actress Leslie Carter in the 1908 play Kassa. The play turned out to be lackluster, and shortly after, Carter declared bankruptcy and Mucha was never paid for his work. This poster and its strange beauty is made all the more eerie knowing the disas-

trous outcome of her and Mucha’s careers. Elbridge Ayer Burbank’s (1858-1949), “Ah-GePah,” 1897, oil on board ($4/6,000) artwork features a Navajo woman set against a bright blue sky and rolling field, wrapped in a colorful blanket. The painting came from the Duffy estate collection. The eponymous Owen Duffy was a close friend and collector of Burbank’s artworks. Finally, the sale will offer Ira Yeager’s (1938-2022) four-panel screen, “Ducks in a Landscape,” acrylic on canvas ($4/6,000) and a lithograph by John Steuart Curry, “John Brown,” published by Associated American Artists, N.Y., in 1939 ($2,5/3,500).

Michaan’s Asian art department is offering Hiroshi Yoshida’s (Japanese, 1876-1950) “Hadakayama,” woodblock print, signed ($2/3,000), which features a tranquil mountain scene from his series “Nihon Arupusu Juni dai no uchi

Standard Unsurpassed Gasoline Mickey Mouse vintage tin advertising tire cover sign ($2/4,000).

(Twelve Scenes in the Japanese Alps).” Yoshida is regarded as one of the greatest artists of the shin-hanga style and mostly known for his landscape prints, “Hadakayama” being a beautiful example of both. Next, the Asian art department is also offering a Japanese landscape scroll by Tani Buncho (17631840), with certificate ($1,2/2,000). This scroll features a detailed depiction of Japanese trees and landscape. Also on offer is a large carved stele of Buddhist deities ($800-$1,200) and a Chinese Export blue and white porcelain plate, Chenghua six-character mark ($600$1,000).

Furniture and decorations will offer a midcentury modern wall mount shelving unit ($1/1,500) and a heavily carved wood sideboard ($1,2/1,800). On the decorations side, there is a large collection of vintage tin advertising signs on offer. Of this troupe, the Standard Unsurpassed Gaso-

line Mickey Mouse tire cover sign ($2/4,000) stands out. It is circular in shape and features Walt Disney Studios’ Mickey Mouse holding up a piece of paper advertising the quality of Standard Gasoline.

In addition to this tin sign and from the same retinue, Michaan’s is offering a Signal Gas Ahead vintage tin advertising sign ($2/3,000) that features a traffic light signal and the words “Signal Gas Ahead” written in yellow and black block letters. An English Eureka Clock Co., mahogany cased electric mantel clock ($1,5/2,500) features beveled glass panels, a white dial with Arabic numerals, and is powered by a weighted magnetic impulse wheel with the battery housing on the underside of the piece.

Michaan’s also has some standout lots from jewelry and timepieces. First and foremost, from the same consignor, Michaan’s will offer a US gold

Tani Buncho (1763-1840), Japanese landscape scroll, with certificate ($1,2/2,000).

coin, 14K yellow gold bracelet ($5/7,000) and a regal jade, diamond, 18K yellow gold dragon bracelet ($4/6,000), both of which were discovered at one of Michaan’s free appraisal events. Also on offer in October are two antique pieces: a Victorian agate, turquoise, yellow gold suite ($500/700) and an antique diamond, cultured pearl, 14k yellow and white gold bird brooch ($300/500). Finally, there’s a set of gent’s Tiffany & Co., mother of pearl cufflinks and shirt buttons ($300/500).

Preview: Sunday, October 13, 10 am to 5 pm; Thursday, October 17, 10 am–5 pm; Friday, October 18, 9 am — end of auction.

October Annex Auction: Monday, October 14, 9 am; Tuesday, October 15, 9 am ; Wednesday, October 16, 9 am.

Michaan’s Auctions is at 2701 Monarch Street. For information, 510-227-2505 or www. michaans.com.

Lyman Allyn Exhibition Features Works By African American Artists

NEW LONDON, CONN. — There is no singular way to address the conversation of race and representation in contemporary art. “Personal to Political: Celebrating the African American Artists of Paulson Fontaine Press” presents the unique vision and personal narratives of African American artists from across the country. Channeling the poetics of the human experience, this exhibition reflects on history, identity, personal stories and spiritual inspiration. With 46

fine art prints by 17 different artists and a large-scale basketball pyramid installation by Berkeley, Calif., artist David Huffman, this exhibition presents a powerful array of figurative and abstract art. It is on view from October 13 through January 5.

“Personal to Political” highlights the work of African American artists who are reshaping the world of contemporary art. Included are works by Martin Puryear, known globally for his elegant abstract sculptural forms; San Francisco Bay Area artist Lava Thomas, who considers themes of social justice and female subjectivity; and Lonnie Holley, a self-taught artist and prodigious mixed-media master; as well as art by Kerry James Marshall, Gary Simmons and Radcliffe Bailey. Abstract quilts by Alabama’s celebrated Gee’s Bend quilters, including Loretta and Essie Pettway and Louisiana and Mary Lee Bendolph, have been adapted into prints, creating dynamic graphic art from the

group’s work in traditional textiles.

The fine art prints in this exhibition were produced at Paulson Fontaine Press in Berkeley, Calif., an artistic hub known for amplifying important, often underrepresented, voices in the visual arts. In 1997, after hearing the painter Kerry James Marshall speak of the need for more Black voices and artwork in museums and art institutions, press co-founder Pam Paulson realized there was work to be done. For more than 25 years, Paulson Fontaine Press has worked with a diverse group of artists, collaborating and experimenting with different processes and materials to bring new art and artists to a wider range of audiences. Collectively, the artists in “Personal to Political” confront the personal and public significance of past and current events while working in a variety of media. The artists have taken aesthetic action in making this work, and it reminds us that we can all take action.

Artists featured in the exhibition are as follows: Edgar Arceneaux, Radcliffe Bailey, McArthur Binion, Woody De Othello, Gee’s Bend Quilters (Louisiana Bendolph, Mary Lee Bendolph, Loretta Bennett, Essie Bendolph Pettway, Loretta Pettway), Lonnie Holley, David Huffman, Samuel Levi Jones, Kerry James Marshall, Martin Puryear, William Scott, Gary Simmons and Lava Thomas.

“Personal to Political: Celebrating the African American Artists of Paulson Fontaine Press” was organized by Bedford Gallery at the Lesher Center for the Arts, Walnut Creek, CA. This exhibition has been made possible with support from an anonymous foundation. Funding has also been provided by the Connecticut State Legislature and is administered by the Department of Economic and Community Development, Office of the Arts.

The Lyman Allyn Art Museum is at 625 Williams Street. For information, 860-443-2545 or www.lymanallyn.org.

Jade, diamond, 18k yellow gold dragon bracelet ($4/6,000).

David Huffman (American, b 1963) “Basketball Pyramid,” 2007, color aquatint, spit bite, sugar lift, soft ground and hard ground etching, 37½ by 45 inches.

Rare Portrait From Washington’s Inventory Comes To Auction

ALEXANDRIA, VA. — As the auction house in George Washington's hometown of Alexandria, Va., and named after his canal company, The Potomack Company, “We are honored to offer for auction in October an important and rare piece of artwork from Washington’s Mount Vernon,” announced Elizabeth Haynie Wainstein, owner of the Potomack Company regarding the firm’s auction, which closes on October 29. “A pastel portrait of St John the Evangelist is one of the few pieces of religious art Washington displayed at his home. He was a strong advocate for religious freedom but was not very outspoken about his own religious beliefs, which adds to its significance.”

This piece is remarkable on several fronts. It is one of a fairly limited number of extant items that can be authenticated as furnishings from Washington's Mount Vernon, and it is one that Washington displayed prominently in a central and very visible part of the house. As explained on the Mount Vernon website, the New Room was a “formal space used for receiving visitors, showcasing art, and sometimes for dining.”

According to a Mount Vernon curator, “George Washington displayed very little sacred art in his home. In fact, there are just two pieces in the entire house that could be classified as religious” — this pastel portrait and a portrait of the Virgin

Mary, which were listed in inventory records upon Washington's death as “1 likeness ‘St. John’” and “1 [likeness] Virgin Mary.”

Washington’s affinity for this particular religious painting may be due to the fact that St John the Evangelist is the patron saint of Freemasonry, and Washington was a proud and active member of Masonic lodges in Fredericksburg and Alexandria from age 20 until his death. At his first inauguration in 1789 Washington swore his oath with his hand resting on the Bible from St John's Lodge in New York City.

This painting also has a documented history from Washington's lifetime to today — a history that is intertwined with that of the companion Virgin Mary portrait. Both portraits hung in Washington's New Room and have matching original Eighteenth Century gilded rococo frames; they were listed together in inventories upon the deaths of George and Martha Washington; they were both referenced in auction records from the Nineteenth Century; and both were purchased and passed down through the families of Washington descendants.

The Virgin Mary portrait was ultimately acquired from a Washington descendant by Mount Vernon, where it currently hangs in the New Room. The Saint John portrait is owned by another Washington descendant

and was on loan until 2014 to Mount Vernon, where it also hung in the New Room alongside the Virgin Mary portrait.

This piece is being offered along with other historically significant items that descended in this family that traces back to both Washington and George Mason. Among those items are George Washington’s watermarked writing paper, Eighteenth Century, with Liberty in the center and the name George Washington in a circular design surrounding her, surmounted by a griffin. There are two possible paper mills in Pennsylvania that may have manufactured paper for Washington, according to Mount Vernon.

The sale features a pair of late Eighteenth Century Chinese export “Urnes Mysterieuses” from descendants of George Mason and his son, John Mason, who figured prominently in business development in Washington, DC.

There is a yellow-gold bracelet with a clasp engraved with George Washington’s coat of arms and “Mount Vernon” accompanied by an 1861 letter from silversmith Samuel Kirk &

Exhibition Of Rarely Displayed Works By Andrew Wyeth Comes To The Bruce Museum

GREENWICH, CONN. —

“Every Leaf & Twig: Andrew Wyeth’s Botanical Imagination,” on view through January 5 at the Bruce Museum, explores the artist’s lifelong engagement with the natural world through his intimate observations of plant life as it evolves throughout the seasons. While Wyeth is most known and celebrated for his hyperrealistic watercolor and tempera paintings of people and landscapes, this exhibition shows the artist’s response to the natural world in a more visionary, poetic style.

“Every Leaf & Twig” features nearly 35 works on paper drawn from the holdings of the Wyeth Foundation for American Art, with many on public display for the first time. Inspired by a line from Henry David Thoreau’s 1854 book, Walden, or Life in the Woods, “Every Leaf & Twig”

explores the artist’s lifelong admiration of the influential naturalist and highlights the distinctive painting style he developed through time spent alone in the natural world. The association between these two masters is particularly relevant at this moment when the fragile ecosystems that inspired them both are under threat.

Organized by the Brandywine Museum of Art in association with the Farnsworth Art Museum and the Wyeth Foundation for American Art, “Every Leaf & Twig” is an exhibition in two parts. The first part was exhibited at the Farnsworth and focused on Wyeth’s paintings in Maine. The second part, exhibited at the Brandywine, focused on work the artist created in Pennsylvania.

The Bruce will be the first venue to unite these two presentations in one location, offering visitors a

more complete representation of Wyeth’s botanical canon.

“We are thrilled to partner with the Brandywine Museum of Art to present ‘Every Leaf & Twig’ at the Bruce,” said Margarita Karasoulas, curator of art. “Although lesser known, Wyeth’s botanical watercolors have all the visual hallmarks of the artist’s style: precise detail, bold color and dramatic contrasts of light and shadow. They offer intimate, even microscopic, views of plant life that reveal Wyeth to be a sensitive interpreter of the natural world. We are excited to show these rarely seen works at the Bruce and to highlight the exhibition’s unique ecocritical approach to this well-known artist.”

The Bruce Museum is at 1 Museum Drive. For information, www.brucemuseum.org or 203869-0376.

Sons of Baltimore to John Augustine A. Washington III, great-grand nephew of George Washington and the last private owner of Mount Vernon. The bracelet has 14K yellow-gold beads and coffee bean seed pod beads. Washington grew coffee beans at Mount Vernon.

“These historical objects have remained in our family for nearly 250 years, and we think now it is time to share them. Our late mother, Louisa Fontaine Washington Dawson Smucker, who bequeathed them to us, descends — as we do — from the John Augustine Washington line, which inherited Mount Vernon from his full brother George. The pastel of St John has been of great meaning to our family and is a unique if not mysterious artifact from our nation’s found-

ing father,” said Philip Smucker, author of Riding with George: Sportsmanship & Chivalry in the Making of America’s First President For additional information, www.potomackco.com or 703684-4550.

St John St John portrait without frame

Mount Vernon New Room

Auction Action In Bloomfield, N.J.

Early American Furniture Dominates Country House & Hathaway Estates At Nye

BLOOMFIELD, N.J. — Nye & Company put traditional antiques and the Country House aesthetic in full focus on September 11-13, when it offered more than 950 lots of furniture, decorative arts and fine art, of which more than 300 lots were from the estate of Barbara Mallory “Bunny” Hathaway. More than 80 percent of the auctions gaveled down successfully, tallying more than $875,000 and exceeding the firm’s $750,000 aggre-

gate low estimate. So, by the time we reached company president Andrew Holter, he had nothing but good things to say.

“The market showed great strength and diversity and I thought the sale did very well.

The previews were very wellattended and we had a record number of new bidders and registrants, which is always encouraging.”

The Hathaway estate kicked things off with silver, achieving a

rear seat rails of

session high of $22,500 for a pair of George III sterling silver sauce boats made in London in 1750 by Paul de Lamerie. Not only did the sauce boats bear a crest attributed to the family of Henry John Temple, the third Viscount of Palmerston, but they related to another pair in the collection of the Metropolitan Museum of Art. Another strong silver result — also from the Hathaway estate — was a Georg Jensen sterling center bowl in the Grapevine pattern, that brought $9,375.

The apex of the sale came 50 lots into the second day when a Federal eglomise and parcel gilt girandole clock, made in Roxbury, Mass., by Lemuel Curtis, finished at $68,750, more than doubling its high estimate. Consigned to sale by a private collector who had purchased it from Brunk Auctions in 2020, the timepiece, which depicted Perry’s victory in the War of 1812 in the circular lower section, sold to a dealer bidding on behalf of a client.

More early American furniture followed on the second day, much of which came from the same private collection as the Lemuel Curtis clock. Achieving the second-highest result of all at $23,750 was a Southern Queen Anne walnut dressing

table that was attributed to Southwestern, Va., made between 1740-50. The catalog’s note referenced a MESDA file. Like the clock, it sold to a private collector via a trade agent bidding on their behalf.

A private collector, bidding for themselves, took a Southern Federal inlaid walnut and cherrywood bottle case to $22,500 to round out the leaderboard. Attributed to North Carolina or Virginia and dated to the early Nineteenth Century, the piece had been deaccessioned from the Bayou Bend collection at the Museum of Fine Arts, Houston, and had been published in David B. Warren’s Bayou Bend: American furniture, paintings, and silver from the Bayou Bend Collection (NY Graphic Society, 1988).

The focus shifted to Philadelphia furniture with a circa 1770 Chippendale dish-top tilt-top candlestand and a pair of Queen Anne walnut balloon seat side chairs, made 1750-70, which once belonged to Charles Eli Mendenhall, Jr., and had been handled by New York City dealer, Leigh Keno. Both sold to the same trade buyer who won them for clients, for $20,000 and $21,250, respectively.

Choice pieces of English furniture were also on offer and performed well. Leading the category was a stately George III carved mahogany library chair that had been reupholstered by Leroy Graves, the noted upholsterer at Colonial Williamsburg. Dated to the second half of the Eighteenth Century and with minor repairs, it exceeded expectations and went home with a trade buyer, who won it for $15,000.

Of slightly later age was a George III mahogany five-pedestal dining table from the Hatha-

Ownership in two private collections and a prior auction were among the provenance noted for this Lemuel Curtis-made Federal eglomise and parcel gilt girandole clock that sold for $68,750 to a private collector through an agent bidding on their behalf. Andrew Holter said he was “really pleased” with the result ($15/30,000).

way estate that extended 14 feet long. Surface distresses and wear justified its conservative $1/2,000 estimate but bidders liked its look and it closed at $8,125. Also from the Hathaway estate, a pair of George IV walnut bergères, with caning on both the backs and seats and also with wear and surface distresses, exceeded expectations, bringing $4,688, nearly eight times the high estimate. There was more to the sale than furniture. A Japanese Meiji period bronze figure of a man holding a vessel — that stood more than four feet tall and was described as “monumental” — topped off at $11,875 and will be traveling across the pond to a buyer in the UK. A Chinese jade

International bidders entered the competition for this 51-inch-tall Japanese bronze figure from the Meiji period. A buyer in the UK prevailed, taking it for $11,875 ($2/4,000).

Stately would be one word to describe this George III mahogany five-pedestal dining table from the

estate. Bidders were willing to overlook some condition issues and it brought $8,125 ($1/2,000).

Heading the Hathaway estate collection was this pair of George III sterling silver sauce boats made in London in 1750 by Paul de Lamerie. Accompanied by a pair of George III sterling silver ladles with shell bowls by John Hampston and John Prince of York, England, the lot topped off at $22,500 ($15/25,000).

The

these Queen Anne walnut balloon seat side chairs retained 1949 labels that read “This is the Property of Charles Eli Mendenhall, Jr.” Estimated $15/30,000, the pair sold to a trade bidding who was buying them for a client.

Measuring 14 inches in diameter, this sterling silver center bowl, made by Georg Jensen in his Grapevine pattern, achieved $9,375 ($3/5,000).

Hathaway

The upholstery on this George III carved mahogany library chair was fitted by Colonial Williamsburg upholsterer Leroy Graves. A trade buyer prevailed at $15,000 ($8/12,000).

Review by Madelia Hickman Ring, Editor Photos Courtesy Nye & Company

Some wear and distressing to the surface of this pair of George IV walnut and caned bergères only added to their appeal and they found a new home for $4,688 ($400/600).

This watercolor “View of General John Mason’s Residence on Analostan Island” by I. Farley (American, Nineteenth Century), measured 12 by 14 inches, framed, and was acquired by an institution for $4,063 ($1,5/3,000).

This Chinese jade buckle was fitted with a magnifier and was sold together with a Chinese humidor decorated with three hardstones. The lot went out for $5,000 ($300/500).

buckle magnifier that measured 10 inches long and was sold alongside a humidor decorated with three hardstones, achieved $5,000, the highest result of the third day of the sale.

The spotlight on American paintings shone on two very different lots. Crossing the block about halfway through the second day was a portrait of Queen Victoria painted in oil on canvas by Charles Cohill (American, 1812 to circa 1860), that was signed and dated 1856 and was a copy after a portrait of Queen Victoria done by Thomas Sully (American, 1783-1872). Cohill’s nearly life-sized portrait — it measured 91½ inches in height — sold to what Holter referred to as a “distinguished private collector” in Pennsylvania, for $6,250. It was followed across the block just a few lots later by “Figures and Shapes,” a mixed media on canvas geometric composition by Haywood Rivers

A trade buyer won this Chippendale dishtop tilt-top candlestand for a client, for $20,000, surpassing expectations ($8/12,000).

Haywood Rivers’ “Figures and Shapes,” mixed media on canvas, 23 by 14½ inches, framed, traded hands at $7,500 ($3/5,000).

This circa 1900 Native American pueblo pottery olla, attributed to Santo Domingo, measured 12 inches high and 11 inches in diameter. A trade buyer topped it off at $7,500 ($400/800).

(American, 1922-2002), that finished at $7,500.

While it was not one of the highest selling lots of American art, Andrew Holter particularly liked a watercolor view of General John Mason’s residence on Analostan Island that was painted by I. Farley in the Nineteenth Century. According to the catalog note, the image is a rare one, with another view of the house being in the Library of Congress. Mason was the son and youngest child of George Mason IV and built the home in the 1790s on the island that his grandfather had acquired in 1724. Holter confirmed it sold to an undisclosed institution, for $4,063.

Prices quoted include the buyer’s premium as reported by the auction house.

Nye & Company’s next sale will be October 23-24. For information, 973-984-6900, info@nyeandcompany.com or www.nyeandcompany.com.

This portrait of Queen Victoria, painted in oil on canvas in 1856 by Charles Cohill, measured 92½ by 75 inches. It had provenance to a private collection owned by a family from the UK and Philadelphia and will be returning to Pennsylvania, to a distinguished private collector who paid $6,250 for it ($7/10,000).

This Southern Queen Anne walnut dressing table, made in 1740-50 in Southwestern, Va., was purchased by a dealer bidding for a client; they paid $23,750, the second highest result of the event ($15/30,000).

Prior history of this Federal inlaid walnut and cherrywood bottle case included the MFA, Houston’s Bayou Bend collection and two previous auctions as well as an Alabama private collection. Estimated at $15/30,000, it sold to a private collector for $22,500.

Game Night At The American Folk Art Museum

NEW YORK CITY — The American Folk Art Museum (AFAM) elevated the concept of game night on Thursday, September 12, when it hosted several dozen people to an opening night party to inaugurate the museum’s newest exhibition, “Playing with Design: Gameboards, Art and Culture.” The exhibition celebrated more than 100 gameboards and related photographs given earlier in 2024 to AFAM by Doranna and Bruce Wendel of Connecticut. The first

museum exhibition dedicated to gameboards in nearly 20 years, it is the second time the museum has hosted the Wendels’ collection; “Winning Moves: Painted Gameboards of North America,” which ran at the AFAM in the mid-1980s, featured boards from their collection as well as those from others.

The event kicked off AFAM’s fall exhibition series. In addition to “Playing with Design” was “Anything but Simple: Gift Drawings and the Shaker Aesthetic,” an exhibition that originated at Hancock Shaker Village. Objects in the exhibition — which were hung in the central lobby and entryway

were from Hancock Shaker Village and photographs from the New York State Museum, as well as those from public and private collections that supplemented the museum’s holdings. The Cowin gallery housed “Somewhere to Roost,” which featured more than 60 works of paintings, textiles, photographs and sculptures that explored the ways artists evoke and construct ideas of “home.”

All of these exhibitions will remain on view until January 26.

Many of the museum’s longtime supporters and folk art power players were on hand for the evening’s festivities, including Olde Hope’s Pat Bell, Sotheby’s Nancy Druckman, Vera Jelinek, Irwin and Elizabeth V. Warren, Joyce Cowin, Ralph and Roberta “Bobbi” Terkowitz, Jeff Pressman and Nancy Kollisch and The American Art Show director, Catherine Sweeney Singer.

Warren, president of the museum’s Board of Trustees, introduced Jason T. Busch, the Becky and Bob Aleander director and CEO of the American Folk Art Museum. In his remarks, Busch mentioned the scaffolding that now graces the museum’s façade at Lincoln Center, noting renovations would begin in the summer of 2025. Forthcoming changes include updated mechanical systems throughout the gallery, new bathrooms, new office space for AFAM employees, a redesigned gift shop and a new “dynamic façade” of the building, which is owned by the Church of Jesus Christ of Latter-day Saints. The museum is not expected to close during this time.

The museum’s upcoming gala fundraiser — inspired by the Wendels’ gameboard collection — is titled “Casino Night” and will take place on October 25.

In 2026, the museum will turn 65 and plans are afoot for events to celebrate that milestone, in addition to those focused on the national Semiquincentennial. Details about these will be forthcoming as they evolve.

The American Folk Art Museum is at 2 Lincoln Square. For information, 212-595-9533 or www.folkartmuseum.org.

Some of the museum staff and family present were, from left, Jason T. Busch, Kate Johnson, Johnson’s husband, Kevin Dresser, Karley Klopfenstein, Derek Parsons and Judy Steinberg.

Doranna and Bruce Wendel, gameboard collectors extraordinaire and the couple of the hour, whose gift to the American Folk Art Museum is the subject of the museum’s latest exhibition, “Playing with Design: Gameboards, Art and Culture.”

A lively group that was having a great time included, fourth from left AFAM trustee Gail Wright Sirmans in orange, AFAM trustee Lybra Clemens in the center, second from right Isabel Sajous and, far right, Laurent Delly.

Jason T. Busch, the Becky and Bob Aleander director and CEO of the American Folk Art Museum, with Elizabeth V. Warren, president of the museum’s Board of Trustees.

Jason T. Busch and Emelie Gevalt, the curatorial chair for collections and curator of folk art.

The central lower level of the museum featured the museum’s exhibition, “Anything but Simple: Gift Drawings and the Shaker Aesthetic.”

From left, Ralph Terkowitz, board of trustees member Roberta “Bobbi” Terkowitz, Jeff Pressman and Nancy Kollisch.

The museum’s upper exhibition level is now home to “Playing with Design: Gameboards, Art and Culture.”

Event coverage and Photos by Madelia Hickman Ring, Editor

Auctions At Showplace Presents October 20 Fine Art & Design Auction

NEW YORK CITY — Auctions at Showplace will present a fine art and design auction on Sunday, October 20. This sale will showcase works by renowned artists and designers, including André Lhote, Henry Moore, Andy Warhol, Jean Dubuffet and Bernard Buffet. The auction will feature a selection of fine art, sculpture, furniture, jewelry and luxury accessories.

One standout piece is André Lhote’s “Portrait d’Anne (Mme. Lhote),” a Cubist oil on paper from 1930, boasting an extensive provenance through major galleries and auction houses. Bernard Buffet’s “Roses Rouges et Lys,” a striking 1996 oil on canvas listed in the Galerie Maurice Garnier archives is expected to attract significant interest

from collectors of Buffet’s work.

Henry Moore’s iconic bronze sculpture “Reclining Figure” from 1983 is expected to draw attention with its limited edition of 5/9 and notable provenance from London’s Crane Kalman Gallery. Additional highlights include two vibrant 1995 paintings by Hunt Slonem: “Hyacinths” and “Hornbills.”

Prints and multiples include Banksy’s 2004 screenprint “I Fought the Law (Orange)” and Andy Warhol’s “Electric Chair” from 1971. Notably, after Pablo Picasso’s “Avant la Pique,” a signed 1959 linocut on Arches wove paper, will also be offered along with Picasso ceramics. The sale includes a robust offering of editions by Helen Franken-

thaler, Richard Diebenkorn, Joan Mitchell, Jean Dubuffet Henri Matisse, Picasso, Otto Dix, Max Beckmann, James Nares, Joan Miro , Erich Heckel and Zao Wou-Ki.

The auction features a range of sculptures, such as Ferdinando Vichi’s marble piece “Cupid and Psyche” and Francisco Zúñiga’s “Desnudo de Victoria” (1968) and “La Calera” (1977), both limited-edition bronzes. Dario Morales’ 1982 bronze “Mujer Desvistiéndose” depicting a woman undressing is another key highlight. Michael Glancy’s “Boreal Inner Star X”, a 2013 glass sculpture, showcases the artist’s innovation in glass art. A collection of work by Toshiko Takaezu is prominently featured in the sale. Takaezu was the subject of a

Southold Historical Museum Seeks 10-Squared Submissions For Annual Fundraiser

SOUTHOLD, N.Y. — Southold Historical Museum is again sponsoring its popular Ten Squared Exhibit and Sale to benefit Southold Historical Museum. The theme for the late 2024 exhibit is “The Natural World Around Us.” The online exhibition and sale will be Friday, November 15 –Sunday, December 15; it is a perfect opportunity to choose gifts for a hostess, friend or family. The changing seasons and landscape of Southold inspire the artists who are motivated by the love of nature and growing things. Artists have become aware of the dangers facing the natural world. For

this reason, this season’s exhibit will celebrate the “The Natural World Around Us.” Each work will be sold for $100, 50 percent of each sale going to the museum and 50 percent going to the artist. Finished 10-by-10-inch works are due by Friday, October 25. Kindly drop off works during office hours (10 am to 2 pm) from Monday, October 21, through Friday, October 25. No late entries accepted. Artists may submit up to three works in any medium. Larger works created with multiple adjoined boards will not be accepted. Artwork must be dry and hang-ready when submitted . Work must

be identified on the back with the artist’s name, title of the work and its medium. Checks for sold works will be mailed in January 2025 and artists with unsold works will be notified by email. Unsold work must be retrieved by Friday, January 10, 2025, or it will be recycled. Please note the Southold Historical Museum’s office is closed between Christmas and New Year’s Day.

The Southold Historical Museum is at 54325 Main Road. For more information, email art@southoldhistorical. org or call 631-765-5500. Submission forms can be printed from our website www.southoldhistorical.org.

2024 retrospective at the Noguchi Museum in Astoria.

Sculpture enthusiasts can also look forward to works by Ursula Von Rydingsvard, Louise Nevelson, Robert Graham, Tom Corbin and others.

Furniture collectors will appreciate a 1975 “Africa” walnut dining set by Afra & Tobia Scarpa for Maxalto and a Tommi Parzinger glass-topped gold leaf credenza. Other notable designers featured include Arne Jacobsen, Joaquim Tenreiro, Karl Springer and Philip & Kelvin LaVerne.

In addition to fine art and furniture, the sale includes timepieces by Cartier, accesso-

ries by Tiffany, an antique Louis Vuitton monogrammed steamer trunk and a treasure trove of jewelry. Previews will be conducted 10 days before the sale, and the full catalog is available for preview and bidding online at auctions.nyshowplace.com. Following this event, Showplace will host Flash: Showplace Photography Auction on October 23, featuring works from Magnum collections, including Charles Harbutt and Joan Liftin. Auctions at Showplace is at 40 West 25th Street. For information, www.nyshowplace.com or 212-633-6063.

Bernard Buffet, “Roses Rouges et Lys,” oil on canvas ($60/80,000).

Henry Moore, “Reclining Figure,” bronze sculpture ($60/80,000).

Andre Lhote, “Portrait d’Anne,” oil on paper ($60/80,000).

Auction Action In East Dennis, Mass.

Eldred’s Commands Land & Sea With Combined Americana & Marine Art Auction

EAST DENNIS, MASS. —

Over the course of two days, from September 12-13, Eldred’s conducted its Americana and Marine Art auction, with only online, phone and absentee bid-

ding available. There were 308 lots offered on each day, for a total of 616 lots. Session one saw Americana, furniture, paintings, decorative arts and more cross the block, while session two

Leading both session one and the sale in its entirety was “Where there is room in the heart there is room in the house” by Elizabeth Mumford (Massachusetts, 1950-2020), oil on board, 25 by 20 inches, which rose to $7,680 against a $2/3,000 estimate.

This early Twentieth Century Native American coiled basket, possibly Pima, which had a train design wrapping around its body, measured 5 inches high and 16 inches long and was described as “unique” by the auction catalog. Despite minor damage to its rim, the condition was excellent, and it sold online for $6,400 to a Midwestern buyer ($2/3,000).

Marked “Olafsen” on its lower right corner, this woolwork picture of a yawl or ketch was dated to the Nineteenth Century and measured 24 by 29 inches framed; it sailed to $3,073 against a $800-$1,200 estimate, heading to its new home with a private buyer.

focused on marine lots, including scrimshaw and whaling materials, ship models, paintings, Chinese export and more. Between the two days, the sale realized $296,000, which fell within the firm’s pre-sale estimate range.

“There were 282 total buyers, 25 of which were either old-fashioned phone or absentee bids,” explained Cheryl Stewart, head of marketing at Eldred’s. “The remainder were online bidders, split between Eldreds’, Invaluable and LiveAuctioneers and their subsidiaries.” While 282 lucky buyers were able to walk away with something new, there were 291 registered bidders in total, only including in-house, absentee and phone bidders. When adding online bidders,

Standing at 71 inches high, this tiger wood Queen Annestyle highboy by Eldred Wheeler (Massachusetts) was in excellent condition and shut its doors for $2,560, heading to a New Hampshire buyer ($1,5/2,000).

Stewart said there were “several thousand registered bidders online, with an average of 800 following the auction at any given point.”

Leading both days of the sale was “Where there is room in the heart there is room in the house,” an oil on board, which sold during session one, by Elizabeth Mumford. The painting, consigned from a private New York collection, depicted figures and horse-drawn carriages outside a large, coastal home, and earned $7,680, heading to a private collection in Massachusetts.

Finishing just behind Mumford’s painting was an oil on Masonite by Martha Farham Cahoon, titled “Santuit.” The painting was signed and dated “Martha Cahoon 76” in the lower righthand corner and was marked as “good condition” but “slightly soiled” by the auction catalog. Despite these condition notes, the work, depicting a family watching two hot air balloons traveling through the air,

floated to $7,040, the second highest price of the day and sale overall. Initially consigned from a Cape Cod collection, the painting will stay on the Cape with its new buyer. Cahoon’s other work in the sale, “A New England Fishing Village,” swam to $4,480. It will also stay in Cape Cod, with a different buyer than her other work.

Adjacent to paintings was the map category; seven were offered on the first day and all of them sold, with prices ranging from $160-$4,800. Headed to a private Massachusetts collection, a map of Barnstable, Dukes and Nantucket Counties by Henry F. Walling secured the highest price, $4,800, despite some stains and rips. The 1858 map was published by D.R. Smith & Co. (Boston) and was linen-backed. Furniture was also popular with bidders during the first session, with a fine Aesthetic Movement credenza in the manner of Pottier & Stymus and Kimbel & Cabus shutting its door for

Crafted in the Nineteenth Century, this double sailor’s valentine was composed of multicolor shells and contained a heart design on one side, along with the message “Welcome to Barbados” on the opposing face. Despite some small defects, the valentine sold to the trade for $2,688, surpassing its $900-$1,200 estimate.

Closing its door at $2,816 was this fine Aesthetic Movement credenza in the manner of Pottier & Stymus and Kimbel & Cabus, made in New York circa 1875 ($3/5,000).

This walnut frame with whalebone inlay from the Nineteenth Century measured 18 by 13¾ inches and realized $1,664 ($200/300).

Review by

Kiersten Busch, Assistant Editor

Photos Courtesy Eldred’s

“Santuit” by Martha Farham Cahoon (Massachusetts, 1905-1999), oil on Masonite, 16 by 13½ inches framed, signed and dated lower right, flew to $7,040, more than doubling its high estimate ($2/3,000).

$2,816, selling to the trade. The 57-inch-high piece of furniture was “surmounted by an elaborate backsplash and a smaller stepped case,” according to the auction catalog. It also had ebonized and gilded moldings and edges, an interior made of bird’seye maple and a metal figural medallion pressed into its door. Additionally, a Queen Annestyle highboy in tiger maple, hailing from Twentieth Century Massachusetts, earned $2,560. Session two, all things marinerelated, had an explosive topselling lot, a bronze model of a canon, which fired off at $5,760. Hailing from the early Twentieth Century, the model was mounted on an old turned wooden stand and was unmarked. Consigned to Eldred’s from a private collection, the canon was sold to a collector bidding on the phone.

Ship portraits were plentiful on day two, with four of the top 10 best-selling lots belonging to the category. The highest earning of these was “Ships On A Stormy Sea,” an unsigned oil on canvas attributed to Thomas Buttersworth, which sold to a Maryland buyer online for $2,816.

Manufactured by Ashton Valve Co., in Boston during the first half of the Twentieth Century, this brass ship’s clock had a burnished steel face with Arabic numerals and was marked “U.S.S. Wando.” The clock sped past its $400/600 estimate to earn $1,792.

Despite some minor craquelure and faint stretcher lines visible under raker light, the painting presented “very well under natural light,” according to the auction catalog. Ship portraits continued to be popular with bidders; other notable lots included “HMS Indefatigable, 38 Gun Frigate” by Derek George Montague Gardner (Scottish-British, 1914-2007) ($2,432), “Sailing Into Vineyard Sound” by David Monteiro (Massachusetts, b 1956) ($2,432) and “Naval Battle Scene” by John Bentham Dinsdale (British, 1927-2008) ($1,920).

A double sailor’s valentine from the Nineteenth Century had bidders’ hearts racing for a $2,688 finish, surpassing its $900$1,200 estimate. Composed of multicolored shells and housed in an octagonal hinged wooden case, the left side of the valentine contained a heart, while the right side spelled out “Welcome to Barbados.”

Looking picture perfect was a walnut frame, inlaid with whalebone stars and modified diamonds. The Nineteenth Century frame measured 18 by 13¾ inches and sold for $1,664. Two other

The highest selling lot of session two was this bronze model of a canon mounted on an old turned wooden stand, which blasted to $3,072. The unmarked canon dated to the Twentieth Century and measured 26 inches high and 18½ inches long, with a 17½-inch-long barrel ($800-$1,200).

“Ships On A Stormy Sea,” attributed to Thomas Buttersworth (British, 1768-1842), oil on canvas, 25½ by 29 inches framed, rocked its way to a $2,816 finish ($4/6,000).

This map of Barnstable, Dukes and Nantucket Counties illustrated by Henry F. Walling and published by D.R. Smith & Co., Boston, earned $4,800. The linen-backed map was dated 1858 and measured 62 by 60½ inches ($2/4,000).

lots achieved this price: three Northwest coastal fishhooks and a Nantucket basket tray by Bobby and Karen Marks (Cape Cod, late Twentieth/early Twenty-First Century).

Eldred’s will conduct their Fall Fling auction on October 16, which will feature an eclectic mix of antiques, paintings and

Please join us for our annual

Open House Columbus Day weekend, October 12th, 13th, and 14th, 10a.m. to 5p.m. in the upper Connecticut River Valley, at these three fine shops

decorative arts. Prices quoted include buyer’s premium as reported by the auction house. For information, 508385-3116 or www.eldreds.com.

Quality antiques presented by active, knowledgeable dealers representing a wide range of interests. All within a short distance of one another. Well worth the trip

Stephen / Douglas Antiques 61 Bookseller Road, Walpole, N.H. (Right off Rt. 12, across from Alyson’s Orchard)  603-903-5023

Flying Pig Antiques 867 Route 12 Westmoreland, N.H.  03467

Windham Antique Center 5 the Square Bellows Falls, VT 05101 802-732-8081

Light Refreshments Served

Paintings & Art Glass Light Up Cottone’s Fine Arts & Antiques Auction

Auction Action In Geneseo, N.Y.

GENESEO, N.Y. — On September 20-21, Cottone Auctions presented 320 lots of fine art and antiques coming from the Plantation, Fla., collection of Dr Martin May, an orthopedic physician, businessman, author and collector, as well as other various estates, museums and individual collections. The sale boasted a 98 percent sell-through rate and realized $3.7 million.

As estimates predicted, the

sale’s top lot — achieving $492,000 — was a circa 1846 portrait of George Washington done by Rembrandt Peale. The work was purchased by Giles F. Ward (1812-1885) from the artist in February of 1845. From there, the work had provenance to Lucy Bell Ward (1847-1926); a “Mrs Sully,” whose husband, the catalog notes, was a grandson of the artist Thomas Sully; M. Knoedler & Company, N.Y.; Colonel Charles Clifton (1853-

This oil on canvas Gloucester harbor scene by Jane Peterson (American, 1876-1965), 24 by 30 inches framed, nearly doubled its high estimate, bringing $156,000 ($50/80,000).

This untitled work, oil and mixed media on newspaper laid on canvas, was “No. 16” by Afro Basaldella (Italian, 19121976). Measuring 22 by 32 inches, it was bid to $58,800 ($20/40,000).

These early Twentieth Century American school leaded glass windows depicting “Sunrise” and “Sunset” sold together for $60,000 — well above their $5/8,000 estimate range; each cased window measured 30 by 25 inches.

1928); Alice (Clifton) Strachan; thence by descent. Included in the lot were documents from 1926 — an invoice and correspondence — from M. Knoedler & Company, New York, to Colonel Charles Clifton of the Buffalo, N.Y., Pierce-Arrow Motor Car Co. In one of these letters, the painting is identified as “Port-Hole Washington,” referring to the trompe-l’œil stone masonry “window” painted around Washington’s portrait.

Two paintings by American artist Jane Peterson were bid well past their $80,000 high estimates. Making $210,000 was “A Pier At Gloucester,” an oil on canvas depiction of a few small boats, possibly a working fishing boat and its rowboat, at a pier. The other work was similarly a Gloucester scene, though that one was horizontal and showed more boats at rest; it went out at $156,000. Both works were signed to the lower

left and were likely shown at The Memorial Art Gallery’s (Rochester, N.Y.) February 1917 exhibition “An Exhibition of Paintings by Jane Peterson, Frank Townsend Hutchens and Other Contemporary American Artists.” They were purchased from the artist by Willis O. Chapin (Buffalo, N.Y.) in 1912, then acquired by William F. Chapin (Buffalo, N.Y.), then by Alma (Chapin) Owen-Strachan, thence by descent.

A significant percentage of the top-achieving lots in the sale were artistic lighting pieces, many of which were made by notable companies including Tiffany Studios, Duffner & Kimberly and Handel. Leading the category at $156,000 was a seven-light chandelier by Tiffany Studios. Designed in a Moorish style, the circa 1905 light featured six pulled feather Favrile glass shades surrounding a central decorated stalac-

The highest lot of the auction, making $492,000, was a portrait of George Washington by Rembrandt Peale (American, 17781860), circa 1846, oil on canvas, 36 by 30 inches framed ($200/400,000).

An oil on canvas nocturne of a Pittsburgh steel mill by Aaron Harry Gorson (American, 1872-1933), 24 by 20 inches, exceeded its $5/8,000 estimate

tite. All seven of the Favrile pieces were signed “L.C.T.” The bronze chandelier was further accented by Tiffany’s iconic turtleback glass tiles, embedded into suspended bronze orbs and encircling the ceiling mount. The chandelier came to auction from its original home near Lake Forest, Ill., which was designed by architect David Adler (1882-1949).

Other Tiffany Studios lights included several leaded glass mosaic table lamps. Making $105,000 was a Peony lamp that came from a New England family’s collection. The circa 1910 lamp was on a bronze librarystyle base impressed “Tiffany Studios New York 359 S173.” Descending through the family of George Hamm (Chippewa Falls, Wis.), who acquired it in the 1940s, was a Clematis lamp. This example was on a bronze Lion’s Claw base numbered “3230 481,” and it sold for

This Tiffany Studios 12-light Lily lamp, circa 1905, Favrile glass and patinated bronze, 20 inches high, brought $52,800 ($20/30,000).

Jane Peterson’s (American, 1876-1965) “A Pier at Gloucester” was bid well beyond its $50/80,000 estimate to achieve $210,000. The oil on canvas measured 30 by 24 inches framed.

to achieve $62,400.

This circa 1905 Tiffany Studios Daffodil lamp, leaded glass and patinated bronze, 26 inches by 20 inches, finished at $51,600 ($40/60,000).

This “fine and extremely rare” Duffner & Kimberly Dragon lamp, circa 1906, leaded glass and patinated bronze, 26 inches by 22 inches, sold for $150,000 ($50/80,000).

Achieving $87,000 — more than five times its high estimate — was this early Twentieth Century Handel Peacock floor lamp, enameled and acid cut glass on a patinated metal base, 60 inches high by 18 inches in diameter ($10/15,000).

This circa 1905 Tiffany Studios leaded glass and patinated bronze Clematis lamp, 24 by 18 inches, was bid to $96,000 ($40/60,000).

This 10-inch Tiffany Studios Paperweight vase was made of hand-blown Favrile glass circa 1905; it was bid to $48,000 ($7/10,000).

This 42-inch-long Moorish seven-light chandelier by Tiffany Studios, circa 1905, Favrile glass and patinated bronze, had turtleback accents and brought $156,000 ($75/125,000).

$96,000. A Daffodil lamp, once belonging to an important American collection, was on a bronze Old English style table base, number 557; it went out $51,600.

Each of these lamps, as well as a 12-light Favrile glass Lily lamp on a bronze Lily Pad base, were illustrated in Alastair Duncan’s Tiffany Lamps and Metalware (Woodbridge: Suffolk: Antique Collectors’ Club, 1988). As noted by the auction catalog, the Lily lamp, which brought $52,800, was complete with all 12 original Tiffany shades “with unusual onion skin texture.”

Another six-digit finish was that of a Duffner & Kimberly leaded glass Dragon lamp. This Dragon lamp was just one of four known examples and, according to the auction catalog, it appeared in Duffner & Kimberly’s 1906 catalog as “Antique No. 521.” The mosaic glass shade depicted a green, red and yellow dragon with red eyes swirling around the shade’s blue background. At $150,000, the Dragon lamp was the highest-achieving lot

from the May collection.

Also from May’s collection was a Handel floor lamp with a Peacock shade. The glass shade of the early Twentieth Century lamp had enameled and acid cutback details illustrating a peacock among a floral background. In “excellent” condition, the light was bid well beyond its $15,000 estimate to ultimately sell for $87,000.

With pink flowers against a vibrant blue background, a Bigelow, Kennard & Co., Cherry Blossom chandelier with three smaller satellites made $48,000.

A note in the auction catalog read, “Special order, only one known example,” and this special leaded glass chandelier from May’s collection was made in Boston circa 1910.

Other notable glass works from the May collection included a pair of early Twentieth Century American school leaded glass windows depicting “Sunrise” and “Sunset” scenes, which were cased and sold together for $60,000, and a hand-blown Tiffany Studios Paperweight vase. The circa 1905 Favrile glass vase was inscribed “L.C.T. –

Y5852” on the underside and it was bid to $48,000.

From another important American collection was a Tiffany Studios jardiniere in the Arrowheads design. The patinated bronze vessel was detailed with flowers and arrowheads molded around its body, which was set with green mosaic glass tiles. A similar example of this

This Tiffany Studios Peony table lamp, circa 1910, leaded glass and patinated bronze, 27 by 18 inches, brought $105,000 ($60/80,000).

This Tiffany Studios Arrowheads jardiniere, made of mosaic Favrile glass and patinated bronze, 4 inches high by 12¼ inches in diameter, made $60,000 ($25/35,000).

Bigelow, Kennard & Co., of Boston, Mass., made this circa 1910 leaded glass and patinated bronze Cherry Blossom chandelier, which had three satellites. Measuring 40 by 40 inches, it brought $48,000 ($20/40,000).

jardiniere was also illustrated in Duncan’s Tiffany Lamps and Metalware. This example, with its original metal liner, brought $60,000.

Aaron Harry Gorson was an American artist whose work tended to focus on waterfront industrial scenes, often depicted at nighttime. The example of his work featured in this auction was a nocturne scene of a Pittsburgh steel mill. The oil on canvas work was signed “A H Gorson” to the lower right and, on its reverse, it bore a label from Wunderly Brothers Fine Art, Pittsburgh, Penn. After departing from a Rochester, N.Y., col-

lection, it was claimed in this sale for $62,400. Achieving $58,800 was Afro Basaldella’s Untitled No. 16. The abstract piece, signed and dated “Afro 68,” was done in oil and mixed media on newspaper laid on canvas. It had provenance to the Catherine Viviano Gallery of New York City and a private Buffalo, N.Y., collection. Prices include the buyer’s premium as reported by the auction house. Cottone’s next Fine Art and Antiques auction will be in November with a date to be announced. For information, www.cottoneauctions.com or 585-243-1000.

Review by Carly Timpson, Assistant Editor Photos Courtesy Cottone Auctions

Exquisite Estate Picks Find Favor At Ahlers & Ogletree

Auction Action In Atlanta

This seven-piece hot beverage coin silver service by Grosjean & Woodward (American, 1847-1862), topped off at $6,050 ($6/8,000).

This Baroque-style carved elm and inlaid stainless steel trestle table was attributed to I. Vassalletti (Italian) and finished at $5,748 ($5/8,000).

Together, 12 of these Twentieth Century Buccellati hammered sterling silver goblets with gold wash interior, 5½ inches high, earned $6,655 ($3/4,000).

ATLANTA — Decorative and fine arts from Gregory Crawford’s curated Atlanta estate were the focus of Ahlers & Ogletree Auction Gallery’s 389-lot auction on September 12. On the following day, the firm conducted its September Fine Estates auction, presenting 330 lots of antiques and fine and decorative arts including from the Tampa, Fla., collection of Diana McCluskey, as well as other prominent estates and collections. Jamia Berry, marketing and advertising coordinator at Ahlers & Ogletree, shared that the sale realized $861,664 and 97 percent of the 719 lots offered across both days sold. Berry noted that there were many local bidders as well as those from locations such as California, North Carolina, Virginia, London and India.

Titled “The Distraught Woman” or “Weeping Magdalene,” a mid Nineteenth Century painting of a nude redheaded woman by Jean-Jacques Henner made $27,225, becoming the top lot of the sale. Henner’s oil on canvas was signed “JJ Henner”

to the upper right and bore several old labels. One, in handwritten script and affixed to the stretcher, read “ai signe Henner et provenant de la collection de Mr Anglade de Paris (signed Henner and coming from the collection of Mr Anglade of Paris).” The framed painting came from the McCluskey collection and was previously sold by Christie’s, London.

Leading the selection of lots from the Crawford collection was a pair of blanc de chine porcelain elephant-form table lamps. Each French chinoiserie elephant base was mounted with a gilt bronze howdah that held a beaded palanquin shade and stood on top of a simple pink marble base. The mid Twentieth Century lamps marched beyond their $2,000 high estimate to a new buyer for $7,260.

Earning $6,655 was a set of 12 Buccellati sterling silver wine goblets. Each of the hammered silver vessels had a gold wash interior, turned silver stem and domed foot. While they were each stamped appropriately, all but one were further marked “Mario Buccellati.”

A phone bidder paid the sale-high price of $27,225 for Jean-Jacques Henner’s (French, 1829-1905) mid Nineteenth Century oil on canvas painting, “The Distraught Woman” or “Weeping Magdalene” ($2/4,000). In its frame, the work measured 23½ inches high by 20¼ inches wide.

More silver to complete the tablescape included a sterling silver flatware service by Towle Silversmiths, predominantly in the King Richard pattern, paired with two Gorham Manufacturing Co., Chantilly pattern master butter knives with stainless steel blades and two serrated Reed & Barton knives, also with stainless steel blades. The 158-piece assembled service finished just shy of its estimate at $5,748. Additionally, a seven-piece Grosjean & Woodward hot beverage service went to an online buyer for $6,050. The Nineteenth Century floral repoussé coin silver service included six monogrammed vessels and an unmarked silverplated tray. Excluding the tray, the set weighed approximately 190 troy ounces.

A Baroque-style carved elm trestle table, with an inlaid stainless steel damask design, might have been the perfect setting for these items. Raised on a double pedestal base, the unmarked 98¼-inch-long rectangular table was attributed to Tuscan craftsmen I. Vassalletti; it went out at $5,748.

These Nineteenth Century gilt bronze nautilus shell garnitures, 13¾ inches high by 9 inches wide by 6 inches deep, found a buyer for $5,445 ($2/4,000).

This 64-inch-by-75¾-inch Flemish tapestry depicting a mythological scene was from the Nineteenth Century (or older) and it brought $6,050 ($2/4,000).

These French mid Twentieth Century chinoiserie porcelain and gilt bronze elephant table lamps, 19 by 10¼ inches, were on pink marble bases and had beaded palanquin shades; they sold together for $7,260 ($1/2,000).

This Indo-Portuguese rosewood, shell and bone cabinet, Seventeenth or Eighteenth Century, had eight drawers and measured 10¼ inches high by 14¼ inches wide by 10 inches deep; it found a buyer for $5,445 ($2/4,000).

Review by Carly Timpson, Assistant Editor Photos Courtesy Ahlers & Ogletree

This set of 10 Chippendale-style mahogany dining chairs with leather seats, English, early Twentieth Century, sold for $6,050 ($1,5/3,000).

Of course, no table is complete without a set of chairs and the Crawford estate presented a good option. More than doubling its $3,000 high estimate, a set of 10 mahogany Chippendale-style dining chairs from the Twentieth Century realized $6,050. The eight side chairs and two arm chairs had leather saddle seats with nailhead trip and were all apparently unmarked.

Also from the Crawford estate was a Nineteenth Century — or older — Flemish mythological tapestry. According to the catalog, the scene depicted the Roman gods Mars and Diana, hunting with a dog in a verdure landscape. There were multiple repairs to the piece, the backing was added later and Ahlers & Ogletree specialists believed the original outer border was missing. Still, the hanging textile went out above estimate at $6,050.

Another Nineteenth Century mythological tapestry, this one French, depicted an outdoor scene in which two uniformed men approaching two seated women who were joined by a putto or Cupid figure, found a buyer for $5,748. Bordered by a red and gold scrolling acanthus pattern with ornamental anthemion corners, the tapestry had later backing and outer border, was seemingly reduced in size and had some fading and staining, though the fabric was

described as “supple and not brittle” in the catalog.

Mythological artwork also included a statue of Hebe, the daughter of Greek gods Zeus and Hera. The bronze goddess was formed in the Nineteenth or Twentieth Century and was unmarked, though the work was modeled after Bertel Thorvaldsen’s 1816 marble “Hebe” statue. The example from Crawford’s collection was on a conforming marble base and achieved $5,748.

Continuing the theme, a pair of Nineteenth Century French gilt bronze garnitures from the McCluskey collection went out at $5,445. Each of the married pair featured a patinated bronze god, Poseidon on one and Amphitrite on the other, riding on a dolphin and holding up a nautilus shell which was being driven by a Cupid.

An Indo-Portuguese rosewood, shell veneer and bone cabinet from the Seventeenth or Eighteenth Century was also bid to $5,445. Behind a fall front, the tabletop cabinet featured eight primary interior drawers and another concealed drawer. Despite some cracks and scattered breakage, the case was structurally sound and included its key to lock the front panel.

A matching pair of black leather club chairs with ottomans by Whittemore Sherrill (American, founded 1945) were claimed by an internet bidder for $5,143 ($3/4,000).

“Hebe” after Bertel Thorvaldsen (Danish, 1770-1844), Nineteenth or Twentieth Century, bronze on marble base, 59½ inches high together, made $5,748 ($4/6,000).

With an attached back cushion and loose seat cushion, the chairs had nailhead trim and were on front turned legs which matched the turned legs of the ottomans. These chairs, model number 238-01, were made in the Twenty-First Century and were affixed with the

Comprising 158 pieces, this partial Towle Silversmiths sterling silver flatware service, mainly in the King Richard pattern, Twentieth Century, brought $5,748 ($6/8,000).

This late Nineteenth Century French tapestry depicting a mythological scene measured 104 inches high by 116 inches wide and brought $5,748 ($4/6,000).

manufacturer’s label. The highest-achieving lot of Asian arts was a pair of Chinese gilt bronze Guanyin figures. Each was seated on a recumbent elephant or lion and raised on a thin rectangular plinth bordered by lotus petals. Measuring 25¼ inches tall by 21 inches wide, the figures, which were from the Crawford estate, found a new home for $4,840 ($5/7,000). Prices include the buyer’s premium as reported by the auction house. For information, www.aandoauctions.com or 404-869-2478.

W.E. Haines Cigar Store Advertiser Clocks

W.E. Haines was a tobacco distributor in the early 1900’s. To promote his cigar sales, he created and distributed clocks that h e had modified with cigar advertising; these clocks were assembled imaginatively from whatever old clocks he could find. All have a label on the back with his busines s name and the destination of the clock. Most were distributed to Midwest tobacconists.

Read full descriptions and additional photos at AACClocks.com/CigarClocks or call (859-312-9012) or email Todd@anamclocks.com $250 delivery to the Eastern half of the US.

INTERNATIONAL

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‘Exhibition’ Reflects 25 Years Of Latvian Painter Andris Eglītis’ Work

RIGA, LATVIA — Andris Eglītis is one of the most prominent Latvian painters of his generation who also works with installation, sculpture and building. His painting neither demonstrates nor represents — it explores human beings and nature in their pre-hierarchical relationship. The artist’s gaze eschews judging images from an anthropocentric perspective, and his choice of material relies on the senses as opposed to intellectual considerations.

Perhaps the most significant feature of Eglītis’ painting is his interest in color as a substance in its own right. Eglītis does not perceive color merely as a tone — he listens to its story and gives it a voice, working in close collaboration with everything that surrounds him. When painting nature, he allows it to be present in the process — the soil or algae that Eglītis incorporates into the composition become active participants in his work. As the artist listens deeply to the environment and avoids passing aesthetic judgments upon it, he is able to look into the very essence of painting. Espousing the unity between the painter and the painted, Eglītis achieves probably the most radical form of landscape painting.

Just like Savvaļa, an openair art space, which Eglītis

initiated, “Exhibition” is built as a depiction of his painting process and encompasses three different facets thereof: painterly observation, collaboration with the forces and materials of nature, the initiation of collective situations. The inquiries into forms of cooperation with both Latvian and foreign artists that take place in Savvaļa are directed not so much towards creating collaborative works as towards working independently in a shared territory. The making of this “Exhibition” is a similar collective experiment, where there is a collectively negotiated goal but also enough freedom for

the creative choices of everyone involved. Of equal importance here is the concept of “Exhibition” — a format popular in Western culture for gaining specific spatial experience, as well as the process in which it’s being made — an emergence of an ecosystem and collective consciousness. The form and content of certain “Exhibition” is shaped by a variety of creatives and the art objects themselves: Eglītis’ new works combine in conversation with earlier painting series and works by invited artists. The basis of the exposition is formed by the largescale series “Some Instances of Encounters between Imagi-

nation and Matter” (started in 2010) and “Through the Darkness” (started in 2022), supplemented by works from the series “Order of Things” (2009), “Earthworks” (2011), “Specific Chaos” (2012), “Dirty Modernism” (2014), “Transition” (2016), “Roots and Plastics” (2016) and “Reflections” (2020). In addition to the paintings, new interpretations of sculptural and architectural constructions created and co-created by Eglītis are also on view: an installation from the exhibition at ArtBrussels (2019), “Playground for Accepting Your Mortality” (2019), “Fragment No. 2” (2021) and “Prototype of the Gray Cube” (2022).

Moreover, the visitor will find in the museum “The Dictionary of Fascination” by Andris Eglītis — a collection of various objects with painterly potential, along with installations that use materials that have previously contributed to other works of art. The plywood floor is an example of this, showing traces of the painting process; it was built specifically for making large-scale paintings for the opera Hamlet (composer Jānis Kalniņš, commissioned by Latvian National Opera and Ballet, 2023). One of the compositions created for Hamlet is on display in the LNMA’s third-floor foyer, offering a

novel close-up encounter with the scale of stage painting. Andris Eglītis was born in 1981, lives and works in Riga and the “Savvaļa” open-air art space. Since 2008, he has held more than 20 solo exhibitions and participated in more than 30 important group exhibitions in Latvia, Belgium, Lithuania, the US, India, Germany and other countries. In 2013, he received the Purvītis Prize for the series “Earthworks.” In 2015, Eglītis represented Latvia at the 56th Venice Art Biennale (work “Armpit,” together with Katrīna Neiburga).

Eglītis has designed sets for theater performances and operas as well as made commissioned paintings for the ceiling of the Festival Hall of the Latvian President’s Palace (2020) and the iron curtain of the stage at the Latvian National Opera and Ballet (2023). In 2020, Eglītis and a group of like-minded people founded the outdoor art space Savvaļa in his studio in Drusti municipality, and he is one of its organizers.

“Andris Eglītis. Exhibition. Some Instances of Encounters between Imagination and Matter” is on view through November 3.

The Latvian National Museum of Art is at 1 Jaņa Rozentāla laukums. For information, www.lnmm.lv/en.

The Netherlands Is Returning 288 Objects From The Dutch State Collection To Indonesia

AMSTERDAM & JAKARTA

— In response to a request from Indonesia, the Netherlands has returned 288 objects from the Dutch State Collection to Indonesia. These objects were wrongfully taken to the Netherlands during the colonial period and are of cultural interest to Indonesia. Minister of Education, Culture and Science Eppo Bruins has decided to return the artifacts. In doing so, he is following the advice of the Colonial Collections Committee chaired by Lilian GonçalvesHo Kang You. The artifacts

An

are currently in the collection of the Wereldmuseum. Experts and organizations in the field of museums and collections in both countries collaborated intensively to make this return possible.

Commenting on the decision, Minister Bruins said: “This is the second time we are returning objects that should never have been in the Netherlands, based on recommendations from the Colonial Collections Committee. In the colonial period, cultural objects were often looted, or they changed hands involuntarily in some

other way. The return of these objects is important with regard to material redress.”

This is the second set of recommendations issued by the Colonial Collections Committee. In the summer of 2023, objects were also returned to Indonesia and to Sri Lanka. With this return, the Ministry is thus continuing its course. The objects being returned include four Hindu-Buddhist sculptures, namely statues of Bhairava, Nandi, Ganesha and Brahma, brought to the Netherlands from Java in the first half of the Nineteenth

Century; and 284 objects from the Puputan Badung Collection.

These include objects such as weapons, coins, jewelry and textiles that were taken to the Netherlands after a war against the Badung and Tabanan principalities in southern Bali in 1906, and eventually added to the collection of the Wereldmuseum.

The artifacts were officially returned to Indonesia on September 20 at the Wereldmuseum in Amsterdam, in the presence of the director-general for culture of Indonesia,

Hilmar Farid, and the Indonesian Repatriation Committee. The Colonial Collections Committee advised the Minister to return these objects on the basis of provenance research by the Wereldmuseum and in accordance with the national policy on colonial collections. These recommendations have been established in close dialogue and cooperation with the Indonesian Repatriation Committee and other experts. It demonstrates the close bilateral relations between Indonesia and the Netherlands in the cultural field.

Ancient Greek Vase Given To An Italian Leader Is Returned By His Family To Greece

ATHENS, GREECE (AP) — A valuable ancient vase gifted more than 70 years ago by the Greek government to an Italian prime minister has been voluntarily returned to Greece by the former statesman’s grandson.

The Greek culture ministry on Friday, September 20, praised the “most courteous gesture” by Paolo Catti De Gasperi, whose grandfather Alcide De Gasperi headed Italian governments from 1945 to 1953.

A ministry statement said the mid-to-late Fifth Century BCE

artifact had been presented to De Gasperi by his Greek counterpart, Alexandros Papagos, during a state visit to Athens in 1953. It said Papagos wanted to convey gratitude for De Gasperi’s “decisive contribution” in ceding the Dodecanese islands in the Aegean Sea to Greece — one of a number of territories a defeated Italy was forced to relinquish after World War II.

The large, ornate terracotta artifact is decorated with red figures on a black background, and is of the type known as a

crater. The ancient Greeks used such vases to mix wine — which they avoided drinking neat — with water.

Catti De Gasperi handed the piece over to Greek Culture Minister Lina Mendoni during a ceremony at the Greek embassy in Rome.

Greece has been aggressive in seeking the return of its ancient cultural heritage from museums and private collections worldwide — above all the British Museum’s collection of Parthenon Sculptures.

But Mendoni stressed that this was a completely different case.

“We are particularly grateful, because, while (Catti De Gasperi) held (the crater) completely legally, he felt the need and had the generosity to return it to Greece,” Mendoni said. “It’s a family heirloom that’s linked with the modern history of both Greece and Italy.”

The vase is decorated with a woman seeing off two warriors preparing to leave for military service, and on the other side

three young men in civilian dress. Such artifacts can raise tens of thousands of euros when sold at auction outside Greece, where most antiquities are by law state property.

The ministry said the vase will be permanently exhibited at a museum in the ancient Kerameikos cemetery in Athens. Italy seized the Dodecanese, which include the islands of Rhodes and Kos, from the Ottoman Empire in 1912 and held them until 1947.

Compiled

Antiques and The Arts Weekly

Madelia Hickman Ring & Carly Timpson

Andris Eglītis in the process of painting in “Savvaļa.” 2023.

Photo: Aleksejs Beļeckis.

The Louisiana Invites Visitors To Explore The Depths Of The Ocean

HUMLEBÆK, DENMARK — Dream and nightmare, longing and fear, beauty and horror. Above and below the surface, “OCEAN” is a journey of discovery at this autumn and winter’s major exhibition at the Louisiana Museum of Modern Art. History and the present meet at the intersection of international art and science.

We know more about the surface of Mars than we do about the oceans that cover 71 percent of our planet. The more we explore beneath the surface, the more incredible things we discover. If we browse through the image atlas of imagination, we are flooded with ideas, stories and fantastic creatures.

Like all life, we — the humans — come from the ocean, which we both fear and yearn for. It is a reservoir for the collective imaginations of gods, monsters and fairy tales, but today it is also a dumping ground and a resource that we have exploited. Despite our insignificant size, man’s negative

impact is felt everywhere in the ocean.

Within three main themes, merging myths, history and the present, this thematic exhibition will fill the entire South Wing of the museum. The themes are: “The Ocean between Art and Science,” “The Sublime and Mythological Ocean” and “The Anthropocene Ocean.”

The first part of the exhibition is an exploration of art and cultural artifacts at the intersection of aesthetics and science, such as Anna Atkins’ blueprint of seaweed, Emilija Škarnulytė’s art film from the depths of the Gulf of Mexico, or Leopold and Rudolf Blaschka’s incredible glass models of marine invertebrates.

The following theme, “The Sublime and Mythological Ocean,” deals with the emotions and ideas that arise in art when man is confronted with the unknown in the ocean. From statues of ancient gods and heroes that have been at the bottom of the ocean for 2,000 years in the so-called Antikythera shipwreck, to the sublime ocean surface of

Peder Balke, August Strindberg and Susan Hiller. From visions of strange monsters in Japanese woodcuts to mythologies of sea creatures descended from enslaved Africans in the works of Ellen Gallagher and El Anatsui.

In the theme of “The Anthropocene Ocean,” ideas of exploration and enchantment take a back seat to human exploitation of the sea. In this section, the sea is a transport route for Alan Sekula and Nina Beier, or a scene of destruction of cultures and the environment for John Akomfrah and others.

“OCEAN” presents works by a wide range of artists, including John Akomfrah, El Anatsui, Anna Atkins, Nina Beier, Caspar David Friedrich, Ellen Gallagher, Susan Hiller, Utagawa Kuniyoshi, Georgia O’Keeffe, Jean Painlevé, Allan Sekula, Emilija Škarnulytė and Wolfgang Tillmans.

The Louisiana Museum of Modern Art is at Gl Strandvej 13. For information, www.louisiana.dk/en.

“Neptun” by Werner van den Valckert, 1619, oil on wood, 42½ by 31½ inches, National Gallery of Denmark, Copenhagen.

Fondation Beyeler Explores Themes Of Richness,

RIEHEN/BASEL, SWITZERLAND — The Fondation Beyeler in Riehen/Basel presents the first Henri Matisse retrospective in Switzerland and the German-speaking world in almost 20 years. With more than 70 significant works on loan from prestigious European and American museums and private collections, the exhibition highlights the development and range of the artist’s pioneering oeuvre. It takes as its starting point Charles Baudelaire’s famous poem “Invitation to the Voyage,” which features several key themes also found in Matisse’s works. The latest in a long line of unparalleled exhibitions such as “Paul Gauguin” (2015), “Monet” (2017) and “The Young Picasso – Blue and Rose Periods” (2019), “Matisse – Invitation to the Voyage” is on view at the Fondation Beyeler through January 26.

Henri Matisse (1869-1954) ranks among the most celebrated exponents of modern art. His groundbreaking work has profoundly influenced generations of artists, from his contemporaries up to the present day. In freeing color from its representational function and in simplifying forms, he redefined painting and imbued art with hitherto unknown lightness. Matisse was also an innovator in the realm of sculpture, and in his late cut-outs he devised a distinctive interplay of painting, drawing and sculpture.

The exhibition spans the full range of the artist’s career. Beginning with the early works produced around 1900, it

Serenity & Pleasure In Works By Henri Matisse

moves on to the revolutionary paintings of Fauvism and the experimental works of the 1910s, the sensual paintings of the Nice period and the 1930s, before culminating in the legendary late cut-outs of the 1940s and 1950s.

Curated by Raphaël Bouvier, the exhibition brings together iconic as well as seldom displayed works, on loan from renowned museums and private collections, among them the Baltimore Museum of Art; the Centre Pompidou, Paris; the K20, Düsseldorf; the Kimbell Art Museum, Fort Worth; the Museum of Modern Art, New York; the National Gallery, Washington, DC; and the San Francisco Museum of Modern Art.

The exhibition features masterpieces such as “La desserte (The Dinner Table),” 1896/1897; “Luxe, calme et volupté,” 1904; “La fenêtre ouverte, Collioure (The Open Window, Collioure),” 1905; “Le luxe I,” 1907; “Baigneuses à la tortue (Bathers with a Turtle),” 1907/1908; “Poissons rouges et sculpture (Goldfish and Sculpture),” 1912; “Figure décorative sur fond ornemental (Decorative Figure on an Ornamental Ground),” 1925/1926; “Grand nu couché (Nu rose) (Large Reclining Nude [The Pink Nude]),” 1935; “L’Asie (Asia),” 1946; “Intérieur au rideau égyptien (Interior with an Egyptian Curtain),” 1948; and “Nu bleu I (Blue Nude I),” 1952. This wealth of significant paintings, sculptures and paper cut-outs will hold up to view the development and the range of

“Luxe, Calme et Volupté (Richness, Serenity and Pleasure)” by Henri Matisse, 1904, oil on canvas, 38¾ by 46½ inches. Musée national d’art moderne, Centre Pompidou, Paris, dation, 1982, on loan to the Musée d’Orsay, 1985. ©Succession H. Matisse / 2024, ProLitteris, Zurich. Photo: ©RMNGrand Palais (musée d’Orsay) / Hervé Lewandowski.

Matisse’s unique body of work. The exhibition takes as its starting point the poem “Invitation to the Voyage” by Charles Baudelaire (18211867), which Matisse repeatedly referred to. Its poetic leitmotifs of richness, serenity and pleasure (“luxe, calme et volupté”) are also guiding themes of Matisse’s work and form the very essence of his art. Following Baudelaire’s poem, the exhibition at the Fondation Beyeler thus invites viewers on a journey through Matisse’s work, in which travel played an important part. Matisse was driven to ever

new travels by his quest for the ideal light. Having grown up in northern France, he initially found it in his country’s Mediterranean South, before carrying on with his explorations in Italy, Spain and North Africa, then on a journey across the United States begun in New York, and finally in the South Pacific. On his many journeys within and beyond Europe, which also led him to Russia, he encountered new natural environments, cultures and pictorial traditions, which he blended into his own work. Traveling and the multiple experiences of light it brought

were decisive drivers of Matisse’s artistic development, from his revolutionary early Fauvist works to his iconic late paper cut-outs. The experience of traveling and the studio as a workplace thus formed the two poles between which Matisse’s artistic practice unfolded. His life and his work were shaped by the constant interplay of journeying in France and abroad and settling down in various places of work. The experiences, memories and objects collected over the course of his travels are as central a theme in his work as is the studio as the site of artistic production. The open window is a recurring motif in Matisse’s work. As a locus of articulation between the interior and the exterior, between a nearby here and a faraway yonder, it gives expression to the coexistence of settledness at home and transient traveling. In its symbolic dimension, the open window in particular operates as a form of “invitation to the voyage.”

In a multimedia space conceived specially for the exhibition, Matisse’s travels are made vivid through animated historical photographs and wall panels. Photographs and films further provide insights into his studios and his creative process.

A richly illustrated exhibition catalog, edited by Raphaël Bouvier for the Fondation Beyeler and designed by Bonbon, Zurich, is published by Hatje Cantz Verlag, Berlin. Fondation Beyeler is at Baselstrasse 101. For information, www.fondationbeyeler.ch/en.

Auction Action In Columbus, Ohio

American & Country Furniture Highlight Amelia Jeffers’ September Great Estates Auction

COLUMBUS, OHIO — Amelia Jeffers Auctioneers & Appraisers’ two-day Great Estates auction was conducted September 13-14 and featured 981 lots, with a focus on Americana and American history. The “great estates” included that of a Midwestern couple who collected Civil War and

other historical American objects; items from the Carthage, Ind., collection of Robert “Bob” Closser and Red Kettle Antiques; Marilyn Hanigan of Bethesda, Md.; and others across the country. At the auction’s close, 933 lots changed hands for a sell-through rate of 95 percent and a total realized

This American miniature mahogany and pine Sheraton sideboard, second quarter of the Nineteenth Century, 24 inches high by 26½ inches wide by 14½ inches deep, was the sale’s highest earner, going to an internet buyer for $5,000 ($1/2,000).

This country Hepplewhite pin top table, American, first quarter Nineteenth Century, pine, 78½ inches long, exceeded estimates to achieve $2,875 ($400/600).

of $300,000.

Rising from a large selection of early American and country furniture to become the sale’s highest achiever was a miniature Sheraton sideboard. Made in the second quarter of the Nineteenth Century, the dovetailed mahogany and pine sideboard had brass and cut glass pulls as well as a shallow hinged top. The auction catalog noted that the carved battens around the top were likely added later to correct a warp. At just 24 inches high, the small cupboard went out to an online buyer for $5,000.

Another category familiar to bidders at Amelia Jeffers is Pennsylvania folk art. The top lot on the first day and the second-highest achieving lot overall was a framed political Pennsylvania watercolor and India ink illustration of a yel-

low eagle holding a red and blue sun-shaped disk that read “Virtue Liberty, Independence June 10, 1825.” However, a charming detail was the word “virtue” was originally spelled “vrtue” and the “I” was added in with a caret after. The work, housed in a period walnut frame, had some toning, small stains, a smudge and it was rebacked. Previously sold in Conestoga Auction’s (Manheim, Penn.) October 1999 auction of Americana from the collection of Chris Machmer, it sold in this sale for $4,063. Made in Medina County, Ohio, in the second quarter of the Nineteenth Century and descended through the family of Daniel Hoover, a grainpainted cherry stepback cupboard was bid to $2,880. With poplar and walnut woods secondary, the top section of the

From western Massachusetts, this first quarter Nineteenth Century painted poplar Hepplewhite chest of drawers, 41 inches high by 44 inches wide by 20½ inches deep, found a buyer for $2,375 ($800-$1,200).

Review by

Carly Timpson, Assistant Editor

Photos Courtesy Amelia Jeffers

it stood 80½ inches high and 51½ inches wide and brought $2,880 ($3/6,000).

two-piece cupboard had two six-pane glass doors above four dovetailed drawers. The bottom part featured a two-door compartment on dovetailed bracket feet and an apron with a central semicircle detail. Victorian hardware, not original to the cupboard, was on the doors and there was some splitting and loss from age. Other cupboards included a painted country corner example from the same time period. The American walnut and poplar cupboard was gray over old green and original red paint and achieved $2,500. At $2,250 was a Twentieth Century stepback in the manner of Christian Shively, Jr. Constructed in cherry wood with pine secondary, the base had four dovetailed drawers with applied beaded edges and liberty eagle pulls. An American

Done in the manner of Christian Shively, Jr, this Twentieth Century cherry

89

a

From Medina County, Ohio, this grainpainted cherry stepback cupboard was made during the second quarter of the Nineteenth Century. With poplar and walnut secondary,

This painted country corner cupboard, second quarter Nineteenth Century, walnut and poplar, 75¾ inches high by 43¾ inches wide by 25 inches deep, exceeded estimates to earn $2,500 ($600/900).

stepback cupboard,

inches high by 74 inches wide by 21¾ inches deep, found

buyer for $2,250 ($1/2,000).

A late Nineteenth Century surgeon’s kit for a “Dr. R. Peardon” and a Civil War plate-cased pair of tintype photographs sold together for $2,000 ($250/450).

This second quarter Nineteenth Century whaling ship document stamp, 3 inches high, was carved from whale tooth and punched $2,160 ($600/900).

grain-painted poplar stepback cupboard, made circa 1800, had chamfered corners and dovetailed drawers. The piece had high cut-out legs, shaped aprons and its original tan and yellow graining, which had some wear; it brought $1,920. Hepplewhite-style furniture was also a hit with Amelia Jeffers’ bidders. Leading the category was a pin top table from the first quarter of the Nineteenth Century. Made of pine, the table was painted in dark green on the three-board top and brown-mustard colored paint on the base. Notable construction details that may have aided its $2,875 achievement include shaped battens and tapered pegged legs. A painted Hepplewhite chest of drawers made of poplar wood in western Massachusetts during the first quarter of the Nineteenth Century was bid to $2,375. Characteristic features of the blue-painted chest

included solid ends, four dovetailed drawers with beaded edges, period knobs, high cutout legs and a scalloped apron. Scrimshaw collectors took to a Nineteenth Century whaling ship’s document stamp, the handle of which was carved from whale bone to depict a clenched fist. The back of the fist was detailed with the name “Whaler Jasper” etched in ribbon around a reliefcarved whale. The stamp plate itself was carved in relief to read “Bark Perry.” According to the catalog notes, the New Bedford, Mass.,-based company Whaler Jasper owned the Bark Perry , and this stamp was likely used to mark manifests, records and freight bills. More than doubling its $900 high estimate, the stamp sold for $2,160.

A surgeon’s kit, along with a pair of late Nineteenth Century photographs, sold together — well above the high esti-

This grain-painted poplar stepback cupboard, American, circa 1800, 83 inches high by 49 inches wide by 15 inches deep, brought $1,920 ($1,5/3,000).

mate of $450 — for $2,000. The surgeon’s kit, with scalpels and knives, was in a gutta-percha case engraved “Dr. R. Peardon.” The cased sixth plate tintypes depicted a man in a military uniform and a lady with hand-colored detail. The catalog noted that the kit may have belonged to the man in the photograph.

The highest-earning rug in the sale was a northwest Persian Kelleghi carpet, which went out at $1,800. Signed and dated “1905,” this long rug had a geometric pattern on a dark navy ground with an inner red border with flowers and a blue outer border with stars and geometric patterns.

Despite some minor wear and splits, a round pine treenware canister from the first half of the Nineteenth Century earned $1,812. The turned canister had paint-decorated details including vinegargrained sponge decoration in

1825,” and it was bid to $4,063 ($1,5/2,500).

This paint-decorated pine treenware canister, American, first half Nineteenth Century, 10½ by 8 inches, went out at $1,813 ($600$1,200).

tan against red. Prices quoted include the buyer’s premium as reported by the auction house. For information, www.ameliajeffers. com or 740-362-4771.

New Bedford Whaling Museum Reexamines Thought-Provoking Collection in ‘Complicated Legacies’

NEW BEDFORD, MASS. —

The New Bedford Whaling Museum (NBWM) has opened a new exhibition, on view through September 7, titled “Complicated Legacies: Museum History, White Supremacy and Sculpture” in the Little Braitmayer Gallery. The collections of the New Bedford Whaling Museum / Old Dartmouth Historical Society include an impressive array of fine art, ethnographic objects, whaling implements, nautical artifacts, textiles and detailed documents from around the world. NBWM is presenting select items for consideration in new ways, inviting viewers to re-evaluate the function of art in intersectional history and the role of educational and cultural institutions in our modern society.

“Complicated Legacies: Museum History, White Supremacy and Sculpture” explores a complex chapter in the museum’s history, centered around a bust of Jonathan Bourne by John Gutzon Borglum, the artist behind Mount Rushmore. Bor-

glum’s involvement with the Ku Klux Klan and his racist ideologies complicate his legacy. Commissioned in 1915 as part of the Jonathan Bourne Memorial Whaling Museum at the Old Dartmouth Historical Society, the sculpture was dis-

played prominently until 2020. This exhibit recontextualizes the piece to foster discussions about the decisions museums make regarding their displays and how they confront their histories.

“Putting Borglum’s bust back on display gives the Whaling Museum the opportunity to examine challenging questions and engage with the ongoing conversation about historical and social justice,” says Douglas and Cynthia Crocker endowed chair for the chief curator and director of museum learning, Naomi Slipp. “For over 100 years, the sculpture sat on a plinth overlooking our Lagoda ship model, as organized by the original benefactors. As a multidisciplinary institution that understands the complex responsibility of modern-day presentations of

historical collections, we are eager to revisit these legacies — including our own — with a fresh perspective.”

The New Bedford Whaling Museum is at 18 Johnny Cake Hill. For additional information, www.whalingmuseum.org or 508-997-0046.

Dated 1905, this northwest Persian Kelleghi rug measured 11 feet 3 inches by 4 feet 9 inches and found a buyer for $1,800 ($1,5/2,000).

This patriotic Pennsylvania watercolor and India ink illustration, 9½ by 8 inches, read “Virtue, Liberty, Independence, June 10,

Auction Action in Willoughby,

Ohio

Milestone Celebrates An Extravaganza Of Antique Toys

The sale’s acme lot at $15,375 was this rare Disney celluloid windup Mickey Mouse Riding Horse toy. Its $2/4,000 estimate was left in the dust, thanks to colors that were still strong and a working windup mechanism.

An 11-inch-long prewar tin windup Packard sedan from Japan more than doubled its high estimate, selling for $2,706. It was all original and complete, including a working windup.

Inspired by its real-life counterpart, was Dent’s cast-iron zeppelin, the USS Los Angeles rigid airship, measuring 12½ inches in length. It rose to $4,920 from a $600/800 estimate. “Rarity took it over the top,” said King.

the United

was using all the

WILLOUGHBY, OHIO

—

Milestone Auctions’ Fall Antique Toys Extravaganza on September 14 presented shelves and shelves of rare and desirable toys from around the world, featuring the single-owner collection of Buddy Forman. Vintage toys lined up for sale in the live webcast included windups, battery ops, cast iron, pressed steel and more, with names like Buddy L, Keystone, Marx, American National, Sturditoy, Smith Miller, Kingsbury, Lehmann and others.

The sale totaled $418,000, a white glove event celebrating Forman’s California collection. Auctioneer Miles King said there were about 1,500 registered bidders vying for the collector’s toy treasures.

King elicited the auction’s highest price — $15,375 — for

This Felix The Cowboy by Gund, which was all original with accessories and stood 19 inches tall, charmed bidders who took it past its expected $300/500 to sell for $2,952.

a rare Disney celluloid windup Mickey Mouse Riding Horse toy, measuring 7½ inches long. Leaping over its $2/4,000 estimate, the toy was all original with colors that were still strong and its windup mechanism still sent horse and rider on their merry way. King said it was staying in the United States, adding, “Great condition, very rare. I don’t think it’s the only known example, but it’s just a really rare one.”

Close on Mickey’s slipstream was an Alps tin friction 1953 Packard Patrician sedan, which, at 15 inches long, was cataloged as “a large, impressive car. All original and in great condition with working friction.” The toy drove off for $12,300 against a $2/4,000 presale estimate. “When I asked the guy who bought it why he paid so much, he said it was an upgrade,” King said. “And there was a guy on the phone bidding against him. It was in killer condition, that’s why it brought so much.”

Pedal car collectors chased an original Gendron Hupmobile pedal car to $9,533; per-

haps they were drawn to its unique purple and white paint scheme with green accents that King identified as a rare color combination. With the exception of a missing rubber tire on the side mount — which, according to the catalog, could be easily replaced — the car was complete. This collectors item is also staying in the United States. Hupmobiles got their name from Robert C. Hupp, who, according to the Hupmobile Club’s website put in time with Olds Motor Works (190203), Ford Motor Co. (1906-07) and Regal Motor Car Co. (1907-08), before striking out on his own in 1908. He founded the Hupp Motor Car Co., on November 8, 1908, in a rented factory at 345 Bellevue Avenue, Detroit, Mich.

Just as there was a real-life counterpart to the Hupmobile pedal car, there was an actual USS Los Angeles rigid airship that inspired the manufacturing of the large version of the Dent cast iron zeppelin. At 12½ inches in length, it presented as “very good-excellent”

for the war

Review by W.A. Demers, Senior Editor Photos Courtesy Milestone Auctions

Linemar’s windup Casper the Friendly Ghost toy with its original box scared up a bid of $1,784.

As

States

metal

effort, Buddy L made this World War II-era Railway Express Milk Truck out of wood. Measuring 16 inches long, it left the gallery at $2,460.

“The nicest example we have ever seen of this desirable toy...You won’t find a better example.” Milestone’s catalog waxed enthusiastic about this Cameo wood-jointed Betty Boop that sold, with its original box, for $4,320.

The Gendron original Hupmobile pedal car had a unique purple and white paint scheme with green accents. The rare color combination may have been what drew it to $9,533.

and was lofted to $4,920 from a $600/800 estimate. “Rarity took it over the top,” said King. According to Airships.net, its real-life version, designated ZR-3, was built in 1923-24 by the Zeppelin Company in Friedrichshafen, Germany; ultimately, the airship retired to a Lakehurst hangar where she remained until being dismantled in 1932.

A winning bid of $4,320 took home a Cameo wood jointed Betty Boop with the original box; a 12-inch high likeness of the animated cartoon character produced by Fleischer Studios in the 1930s. The sale catalog enthused, “The nicest example we have ever seen of this desirable toy . . .You won't find a better example.”

An all-original Gund Felix The Cowboy with accessories, such as a holstered six-shooter, outdrew its $300/500 estimate and hit $2,952.

With what were characterized as “great Santa Claus graphics,” a World War II-era Buddy L wooden Railway Express Milk Truck lumbered across the block and sold for $2,460. It was made of wood because all the metal in the United States was being used for the war effort.

An 11-inch long prewar tin windup Packard sedan from Japan handily more than doubled its high estimate, leaving the gallery at $2,706. It was all original and complete, including a working windup.

A probable ancestor to today’s shooter videogames, a Walt Disney Enterprises Mickey Mouse shooting game with six topple over figures (three

Thirsty? This Smith Miller Coca-Cola truck with box slaked the senses with miniature cases of Coca-Cola. Measuring 15 inches, it sold for $2,030.

Mickeys and three Minnies), complete with a gun and corks, made $2,276.

Quenching bidders’ thirst for toy delivery trucks in neverplayed-with condition was a Smith Miller Coca-Cola truck with its original box. Going out at $2,030, the toy came with miniature cases of CocaCola.

While a “mechanical ghost” may sound like an oxymoron, Linemar’s windup Casper the Friendly Ghost toy with its original box scared up a bid of

The Berkshire Museum Presents Juried Exhibition ‘Art Of The Hills 2024’

PITTSFIELD, MASS.

— Berkshire Museum celebrates the fourth installment of its biannual exhibition “Art of the Hills.” On view through January 5, this exhibit offers a look into Berkshire-area working artists through various mediums, expressions and styles.

“Art of the Hills” first debuted at Berkshire Museum as a biannual exhibit in 2018 and continues to celebrate the artistic and creative culture of the region through both emerging and established artists working or living within 60 miles of the museum’s location in downtown Pittsfield. Over the years this locally focused exhibit has featured the works of well-known artists Julia Dixon, Ralph Frisina, Patricia Hogan, Dan Mead and Sally Eagle.

Works included in “Art of the Hills 2024” were selected by jurors Jesse Kowalski and Kentaro Tomio. The exhibit will feature 41 works by 33 artists drawn from over 1,200 submitted works. Kowalski joined the Berkshire Museum as chief curator in 2023 after

serving as curator of exhibitions at the Norman Rockwell Museum, and director of exhibitions at the Andy Warhol Museum. Tomio is a retired museum curator who has organized over 100 exhibitions drawn from collections ranging from old masters, Asian, American and Mexican folk art, to works by contemporary artists.

William Dore, exhibitions manager at the Berkshire Museum, spoke to the upcoming exhibition: “The overwhelming response from over 460 regional artists to the Berkshire Museum’s call for art speaks to the vibrancy of the Berkshire County artist community, and reinforces the museum’s commitment to showcasing these local artists. We are excited to welcome these talented artists ‘home’ — many have found inspiration in our galleries — to share their latest works in ‘Art of the Hills 2024.’”

The Berkshire Museum is at 39 South Street. For information, 413-443-7171 or www. berkshiremuseum.org.

This Walt Disney Enterprises Mickey Mouse shooting game featured six topple over Mickey and Minnie figures. A toy gun and corks for ammo completed the gallery, and the toy made $2,276.

$1,784, and a German tin clockwork Mercedes Benz with passengers Adolf Hitler, Hermann Göring and two SS soldier figures took $3,567.

“It’s good to see a lot of new buyers out there,” King concluded, “and people are still collecting.”

All prices given include the buyer’s premium as stated by the auction house. Milestone’s next sale on October 5 will again focus on toys. For information, www.milestoneauctions.com or 440-527-8060.

“Killer condition” helped drive the price of this 15-inch 1953 Alps tin friction Packard Patrician sedan. The buyer, who paid $12,300 for it against a $2/4,000 presale estimate, told auctioneer Miles King that he was upgrading his collection.

Not Another “Estate Sale” Hartco Showroom Warehouse Sale

Friday and Saturdays, Oct 4, 5, 11, 18 & 19 Fridays, 9-3, Saturdays, 8-4 Rowdy Patrons escorted in by security!

Join the fun and get to meet Paul Norton, Author of One Hundred Years of Trunk Innovation. Call for appointment or hrs. All priced items for sale will be sold as is with offers considered for reduced future prices.  PS: No security guards yet!

Many Finished Travel Trunks, Odd trunks from around the world, China trade Chest, Large Framed steel Engravings, Safe with lock, 1840s wagon trunk, Fancy R H Macey Oshcosh Wardrobe upright, Very Large Vandermann Steel Chest from Harford, Fancy wedding quality Trunk- Front to back slats, New York Taylor cast edges wardrobe, Car Trunk, large Swedish with cherry tray, Fancy Fairbanks double arm Scale, lots of Connecticut trunk hardware and locks, Also in garage, wood working tool to include 6 inch joiner/ planner, vintage hand tools, saws etc. Some Honda mc parts, Honda 500 four running roller. Low mileage Honda 500 Four Project, Mint Con. Gardening tools, low Oak glass corner cabinet, Armoires, Bidermair Glass bookcase top, High end New York maker “Crouch and Fitzgerald” Sample Quality Trunks. 2013 Leer Cap for F150 Longbed, Smoked Glass front and rear.   Wood Pile Art, Lots of wood cutoffs and trunk parts.  Much more

Please text or call. Leave

Miniature hand made Trunks$300 and $250

Two of four Crouch and Fitzgerald New York Sample Quality Trunks - $475 each

Two of three Armoires$400 each Glass Baker’s Cabinet w custom stand - $650

Biedermeier Bookcase w Base -$375

See lecture set on Oct 12 at Lock Museum show in Terryville, Ct.

“Paris”

American, Born Hungary

Kertesz, Capa & The Hungarian American Photographic Legacy

VIRGINIA MUSEUM OF FINE ARTS

By Kristin nord RICHMOND, VA. —

In “American, Born Hungary: Kertesz, Capa, and the Hungarian American Photographic Legacy,” we meet a succession of luminaries whose work was significant in shaping American sensibilities. This comprehensive exhibition is a labor of love for Alex Nyerges, the Virginia Museum of Fine Art’s (VMFA) director and CEO, where the exhibition will be on view until January 25. He has teamed up with Karoly Kincses, founding director of the Hungarian Museum of Photography in Budapest to showcase the work of 33 trailblazing Twentieth Century Hungarian photographers, through a total of 170 works and ephemera. Who better to oversee this project than Nyerges, a Rochester,

N.Y., native and an international award-winning photographer, curator, author and photo historian.

Nyerges begins his tale in early Twentieth Century Budapest, when the city reigned as a thriving cultural capital. At the time, this beautiful city laid claim to vibrant art and decorative arts museums, opera and ballet companies, an active theatre scene and a world class orchestra. It was also home to a large, affluent Jewish population, as well as artists who were well-aware of the Parisian movements of Modernism and Surrealism.

But World War I dealt a devastating blow to Budapest. The war decimated the city’s male population and the city was laid low in short order by “astronomical” inflation, Nyerges writes,

in the exhibition catalog. Mounting antisemitism fueled the enactment of a succession of laws that were designed to limit Jewish participation in virtually all aspects of everyday life.

Nyerges quotes one Budapest academic, as if anticipating what was to come, reporting, “the distant future is dark. The air is unbelievably poisoned, it feels as if in a room filled with carbon dioxide, one must get out, otherwise it gets suffocating.”

From the summer of 1919 through the end of the following year, almost the entire corps of modern artists fled the capital, most electing to emigrate to Vienna, Berlin, or, shortly later, to the Weimar Bauhaus. Jewish Hungarians without the wherewithal were trapped in poverty.

More than 430,000 overall would be deported to Auschwitz and other death camps when the

Nazi-controlled regime began. It was against this backdrop that many Hungarian refugees sought to rebuild their lives in new locales. But all of them faced a daunting language barrier, Nyerges explained in a recent interview, as Hungarian itself was “largely impenetrable” to the outside world. A career in photography would offer many a lifeline and a chance for refugees with minimal English skills to make a good living. For these transplants, Nyerges writes, “the camera became a universal translator — a transnational and multilingual tool; a common communicator.” Some

“Juliet with Peacock Feather and Red Leaf” by György Kepes (American, born Hungary, 1906–2001), 1937-38, gelatin silver print with gouache, 15 by 12 inches. National Gallery of Art, Washington, DC, Pepita Milmore Memorial

by André Kertész (Kertész Andor) (American, born Hungary, 1894–1985), 1929, printed 1950s–60s, gelatin silver print, 16-5/8 by 20-5/8 inches. Virginia Museum of Fine Arts, Adolph D. and Wilkins C. Williams Fund, 2014.173.

“Charlottesville, Va.” by Marion Palfi (American, born Germany, 1907–1978), 1951, gelatin silver print, 20 by 16 inches. Center for Creative Photography, Marion Palfi Archive, Gift of the Menninger Foundation and Martin Magner, 83.106.4 ©Center for Creative Photography, Arizona Board of Regents.

“Joan Crawford and Douglas Fairbanks, Jr, Santa Monica, California” by Nickolas Muray (Mandl Miklós) (American, born Hungary, 1892–1965), 1929, gelatin silver print, 10-5/8 by 13-9/16 inches. George Eastman Museum, gift of Mrs Nickolas Muray, 1971.0056.0013 ©Nicholas Muray Photo Archives, Licensed by Nickolas Muray Photo Archives, Courtesy of the George Eastman Museum.

“Marilyn Monroe” by André de Dienes (American, born Hungary, 1913–1985), circa 1949, gelatin silver print, 30-5/8 by 24-5/8 inches. Virginia Museum of Fine Arts, Adolph D. Wilkins C. Williams Fund, 2021.598, Photograph ©Andre De Dienes/MUUS Collection.

“Stairway” by Max Thorek (Torok Maximilian)(American, born Hungary, 1880–1960), circa 1939, gelatin silver print, 22 by 18 inches. Black Dog Collection.

Fund, 2014.20.1.

Gift of Magnum Photos, Inc.

would never learn to speak English fluently, but their photographs would speak for them.

Nyerges points us to the observations of the photo historian Nissan Perez, who theorized that the camera for these men and women became “a portable tool of wanderers, much like a musical instrument,” as well as “a vehicle of activism and the means by which to establish a new identity.”

The prominence of so many Hungarians as photographers has remained an under told story, Nyerges says, because in their efforts to assimilate many of them changed their names: The Capa brothers — Cornell and Robert — were originally the Friedmann brothers, Endre Erno and Kornell; Mermelstein Marton, who became Martin Munkácsi; Mádl Miklós, who became Nicholas Murray; Weisz Paula, who became Paula Wright; and Alabok Janos, who became John Albok. There were many others.

If these Hungarian photographers shared the common denominator, Nyerges writes, “it was because they were born into the magical, culturally alive and intellectually special turn-of -the-century Hungary. Budapest was the nexus of it all.”

For this exhibition, which draws upon the museum’s

“Franklin Delano Roosevelt” by Marcel Sternberger (American, born Hungary, 1899–1956), circa 1939, vintage silver gelatin print signed on recto, 20-7/8 by 16-7/8 inches. Marcel Sternberger Collection, Curator Jacob Loewentheil, ©2024 Stephen Loewentheil.

VIRGINIA MUSEUM OF FINE ARTS

“JFK Campaigning” by Cornell

1918–2008), 1960,

“Olivia de Havilland” by Martin Munkácsi (Mermelstein Márton) (Hungarian, 1896–1963), 1936, gelatin silver print, 11½ by 9-1/8 inches. Virginia Museum of Fine Arts, Kathleen Boone Samuels Memorial Fund, 2020.182 ©Estate of Martin Munkácsi.

“Virginia Bruce” by László Josef Willinger, (American, born Hungary 1909–1989), circa 1938-39, gelatin silver print, 10-7/8 by 13-7/8 inches. Virginia Museum of Fine Arts, Gift of Howard Greenburg, by exchange, 2020.186 ©Estate of Laszlo Willinger, courtesy The John Kobal Foundation.

1930–2015), circa 1960, gelatin silver print, 20-5/8 by 16-5/8 inches. Virginia Museum of Fine Arts, Kathleen Boone Samuels Memorial Fund, 2020.133.

Third of

by

1909–1992),

“Near Cerro Muriano (Cordoba front)” by Robert Capa (Endre Erno Friedmann) (Hungarian, 1913–1954), circa September 5, 1936, gelatin silver print, 19 by 23 inches. Courtesy of the George Eastman Museum,

Capa (Freidmann Kornell) (American, born Hungary,

gelatin silver print, 16-5/8 by 20-5/8 inches. Virginia Museum of Fine Arts, Arthur and Margaret Glasgow Endowment, 2017.402 Cornell Capa ©International Center of Photography / Magnum Photos.

“Central Park, New York, Winter Reflections” by Paula Wright (Weisz Paula) (American, born Hungary,

“One

the Nation Lower East Side”

Arnold Eagle (American, born Hungary,

circa 1935, gelatin silver print, 20-5/8 by 16-5/8 inches. Adolph D. and Wilkins C. Williams Fund, 2014.170 ©Arnold Eagle.

“New York, Downtown” by Anna Barna (Hungarian, 1901–1963), circa 1955, gelatin silver print, 16-5/8 by 20-5/8 inches. Virginia Museum of Fine Arts, Arthur and Margaret Glasgow Endowment, 2018.177.

“Under the Third Avenue EL, North of 27th St., New York” by Arnold Eagle (American, born Hungary, 1909–1992), 1939, gelatin silver print, 9¾ by 12 inches. Virginia Museum of Fine Arts, Gift of Alex Nyerges and Kathryn Gray, 2021.872 ©Estate of Arnold Eagle.

“Boys with US Flag, Midway Park, Chicago” by László Kondor (American, born Hungary, 1940), 1968, printed 1995, gelatin silver print, 13 by 19 inches. Virginia Museum of Fine Arts, Kathleen Boone Samuels Memorial Fund, 2021.83 ©2024 Estate of Laszlo Kondor.

Untitled by Béla Kalman (American, born Hungary 1921–2011), 1935, printed 1968, gelatin silver print, 22-7/8 by 18-7/8 inches. Art Institute of Chicago, Purchased with funds provided by an anonymous donor.

large collection, Nyerges has taken care to focus on the stories and works of specific masters. Overall, he says, “When one looks at the collective work of many of these Hungarian American photographers, it becomes clear that their aesthetics and technical approaches were deeply rooted in the underpinnings of modern abstraction.” But the astonishing experimentation and innovation from this group attests not only to their gifts but to their ability to respond to need in the camera’s golden era.

VIRGINIA MUSEUM OF FINE ARTS

“Shadows on the Rainy Road” by Francis Haar (Haár Ferenc), (Hungarian, 1908–1997), 1936, gelatin silver print, 9 1/2 by 7-1/16 inches. Virginia Museum of Fine Arts, Arthur and Margaret Glasgow Endowment, 2019.15 ©2024 Estate of Francis Haár.

“Photogram (yellow and white circles)” by György Kepes (American, born Hungary 1906–2001), 1939, gelatin silver print with gouache, 25¼ by 21¼ inches. National Gallery of Art, Washington, DC, Corcoran Collection (Museum purchase with funds from the Women’s Committee of the Corcoran Gallery of Art), 2015.19.5092.

André Kertész had moved to Paris in 1925 and his work in a solo exhibition was acclaimed by critics. “His best photographs are miracles of calm gravity;” Kertész’s biographer would write, “they reflect the purity of his soul.”

But Kertész’s brilliance was dimmed for decades when he toiled as a commercial photographer. When he relocated and began working in New York, American editors purportedly told him, “Your pictures talk too much.”

“I photographed real life,” he would respond later. “Not the way it was but the way I felt it. This is the most important thing — not analyzing, but feeling.”

Kertész is credited with having given birth to two principal branches of modern photography: candid photography with a small camera, and subjective reportage. Many felt that his long career with Condé Nast had thwarted his growth as an artist, but he would break free of those constraints later in life and his artistic career would move into high gear. Free to work as he wished, he won the gold medal at the Venice Biennale, had a lauded exhibition at the Museum of Modern Art and published several acclaimed books.

László Moholy-Nagy was a polymath, who worked first with Walter Gropius at the Bauhaus, and led the short-lived New Bauhaus after he relocated to Chicago. Of the work of Kertész and Maholy-Nagy, the curator notes, “Their work could not have been more different, Moholy-Nagy with his experimental edge and Kertész more traditional. But they shared a pair of common bonds; they were firmly connected as modernists and they were both Hungarians living in a foreign land.”

“One can’t speak of modernism in photography without evoking the names of Russian Aleksander Rodchenko, the American May Ray, and the Hungarian American, László Moholy-Nagy,” the curator adds.

“This new era was characterized by techniques like photomontage, the photogram and the purposely disorienting vantage point. Maholy-Nagy, always an innovator, created all three of these elements in modern photography.”

“The era of the 1920s and 1930s occupied what might be called the intellectual history of photography,” Nyerges continues. “Although it was a century old, photography was repeatedly described during this time as having only recently been truly discovered.”

Over time, György Kepes would become known for his photograms, Munkácsi, for his transformative sports and fashion photography; André de Dienes and a number of other Hungarians for their portraits of Hollywood starlets; Balthazar Korab for his architectural photography.

Marion Palfi, who became a respected social activist, chronicled the plight of the underprivileged and became known as an urban Dorothea Lange. Other Hungarian women photographers of note included Anna Barna; Jolán Gross-Bettelheim and Suzanne Szasz, whose

images were tapped by Edward Steichen for his landmark 1955 exhibition, “Family of Man.” Robert Capa’s grainy scenes of American soldiers landing on Omaha Beach remained burned into the collective memory of generations, and his body of work readily earned him reputation as perhaps the greatest photojournalist of his generation. After the war, Capa joined forces with Cartier-Bresson, Chim and George Rodger to found Magnum, the artist-managed and owned cooperative that grew to be one of the most important and influential photo agencies in the world.

“Capa was their leader, with the ability to wrangle the disparate talents of countless egos, tempers and disciplines into a cohesive and unparalleled group of photographers on the world stage.” Nyerges writes.

There are extraordinary images in this exhibition that run the gamut, from Capa’s war photojournalism to Kertész’s “Underwater Swimmer” to MaholyNagy’s sharply angled courtyard square, from Nikolas Muray’s “Sandwich and Mayo” to Munkácsi’s evocations of exuberance and joy. There are scenes of gritty street life (“Fire Escape, NY; Lexington Ave. at 44th St.” and the famous “Under the Third Ave. El”) and scenes of wonder (whether in Central Park in winter, or a scene captured at the World’s Fair).

Other photographers and filmmakers would make their mark in Los Angeles. Two would establish major film companies: Fried Vilmos who took the name William Fox and created Fox Film Corporation and Adolph Zukor, who founded Paramount Film Studios.

“We are living in the golden age of photography,” Munkacsi at one point proclaimed happily. “It is a modern expression and also a natural means of expression. And because it is spontaneous, there is more chance of immortality for the novice in this art than in any other today.”

The French photographer, Henri Cartier-Bresson, Nyerges notes, returns us to the work of Kertész, for the ways in which “he sought out the simple, the obvious, and the understated, capturing it on film and then transforming it into a statement about life, humanity, and our existence.”

“One can see why CartierBresson was so inspired,” the curator writes. “Kertész was struck by the moment, that fleeting second when a camera records a memorable image or misses it.” And it was that gift to see and capture that telling moment “that has inspired generations of young artists to change the world through photography.”

“American, Born Hungary: Kertesz, Capa and the Hungarian American Photographic Legacy” will be on view through January 25, at the Virginia Museum of Fine Arts. It will then travel to the George Eastman Museum in Rochester, N.Y., where it will be on view from September 26 to March 1, 2026.

The Virginia Museum of Fine Arts is at 200 North Arthur Ashe Boulevard. For information, 804-340-1400 or www. vmfa.museum.

Promoting Long Island: The Art of Edward Lange , 1870-1889 by Lauren Brincat and Peter Fedoryk. Preservation Long Island, Cold Spring Harbor, N.Y., September 2024, pp. 160, $65, hardcover.

Preservation Long Island’s new hardcover book, Promoting Long Island: The Art of Edward Lange, 1870–1889 , features more than 100 fullcolor images of the late Nineteenth Century Long Island landscapes the artist knew and painted. Edited and authored by Preservation Long Island’s chief curator and director of collections, Lauren Brincat, and former curatorial fellow, Peter Fedoryk, with essays by Jennifer L. Anderson, Thomas Busciglio-Ritter and Joshua M. Ruff, the publication presents over two years of new research into the artist’s life and work.

Reconciling the carefully edited world Lange depicted in his artworks with the real historical record, Promoting Long Island builds off decades-old research, study and institutional collecting to present a more complete view of Edward Lange and the Long Island he knew and painted.

Edward Lange (1846-1912), a German immigrant who grew up in a family of prominent artists, publishers and printmakers, arrived on Long Island during one of its most critical moments. For nearly two decades, he watched new industry creep into an older agrarian landscape and used his artwork to record the region’s change. With clear entrepreneurial spirit, Lange inserted himself into Long Island’s booming economy, creating advertorial content to promote businesses across the region. His images of main streets, factories, railroad depots and hotels capture a Long Island undergoing rapid industrial and social transformation.

“Lange’s artwork represents a tangible connection to a period of Long Island’s history when its people, culture and landscape were undergoing rapid change,” said Elizabeth Abrams, Preservation Long Island interim executive director. “The artist’s views of Long Island towns, villages, landscapes and waterscapes offer local Long Islanders an unparalleled look into their own shared past.”

“Artists like Lange played a significant role in promoting

Book Reviews

Long Island’s scenery to the larger public during the Nineteenth Century,” noted Preservation Long Island chief curator and director of collections, and co-author of the publication, Lauren Brincat. “Not only was Lange’s artwork reflective of a resulting new age of booming tourism on Long Island, but it was instrumental in the region’s growth by advertising hotels, resorts and experiences to a greater public.”

“In the late Nineteenth Century, Lange’s artwork had immense visual influence in the New York metropolitan area. Today, the artist’s paintings, drawings, prints and photographic reproductions are celebrated as snapshots of a world before suburbanization permanently reshaped Long Island’s built environment,” said Peter Fedoryk, a co-author of the book and former lead researcher for Preservation Long Island’s “Art of Edward Lange Project.”

By assembling broader historical context around Lange’s life and work, Promoting Long Island draws connections between his art and previously unassociated historical themes — from the plight of factory laborers and Black hotel workers to the unjust treatment of Native communities at the hands of real estate developers and railroad tycoons.

“Engaging with these historical narratives in conjunction with Lange’s artwork helps demonstrate exactly how much is not depicted within the artist’s incredibly detailed pictures,” said Brincat.

Fedoryk added, “Separating the objects of art from the narratives people have attached to them over time is a necessary step in placing Lange’s artwork back within its historical context to attain a more complete understanding of the Long Island that the artist navigated and the kind of life he lived there.”

Electric Op by Tina Rivers, Lindsay Caplan, Zsofi Valyi-Nagy and Jacob Gaboury. D. Giles Limited, London, October 2024, pp. 288, $60, hardcover.

One of the most popular artistic styles of the Twentieth Century, Op art, transformed European geometric abstraction into a global phenomenon in the

mid-1960s. Its disorienting patterns and illusions, rendered with machine-like precision, became icons of the futuristic Space Age. As the 1960s faded, Op became a short-lived fad, dismissed by art historians and critics as visual kitsch. However, over the last 15 years, many museums have reintroduced Op to audiences who enthusiastically embrace it as a reflection of contemporary life. Emerging at precisely the same time as mainstream video technologies and the modern digital computer, Op helped shape the aesthetics of electronic media, becoming the first artistic movement of the Information Age. Featuring plates of 123 artworks by 88 international artists and collectives from the 1960s to the present (including Victor Vasarely, Vera Molnar, Lillian Schwartz, JODI, Ryoji Ikeda and Cory Arcangel), Electric Op offers a scholarly re-evaluation of the legacy of abstraction and the surprisingly intertwined histories of contemporary and digital art. It is also a blockbuster of dazzling works that appeal to all ages, including iconic masterpieces alongside rarely-seen gems. Outstanding works from the collections of the Buffalo AKG Art Museum and the Musée d’arts de Nantes are supplemented with key loans from other major museums, private collections and artists.

The Gilded Life of Richard Morris Hunt by Sam Watters. D. Giles Limited, London, October 2024, pp. 312, $55, hardcover.

Celebrated internationally in the Nineteenth Century as America’s premier architect, Richard Morris Hunt (18271895) is best known for his opulent Gilded Age Vanderbilt mansions, including Biltmore, the Breakers, Marble House and other landmark works. Yet Hunt’s impact on American culture after the Civil War ranges far beyond his lavish palaces. In The Gilded Life of Richard Morris Hunt , historian Sam Watters reveals Hunt’s remarkable influence in creating institutions and conventions that transformed Old World traditions into his generation’s idea of an American civilization through architecture, interior design, sculpture,

painting and the ardent advocacy of artisan trades.

Watters repositions Hunt and his 40-year career in light of new discoveries and connections made through his meticulous study of the Richard Morris Hunt Collection at the Library of Congress. Featuring 200 illustrations, including Hunt’s drawings, images he collected, portraits of his privileged New York and Newport inner circle and new photographs and plans, this dynamic biography follows the contours of American thought that shaped Hunt’s life and work among the ruling one percent.

A Tale of Two Balconies by Kit Brooks and Katherine Roeder. D. Giles Limited, London, October 2024, pp. 164, $30, paperback.

A visually appealing, playful and thought-provoking book about Katsushika Hokusai’s “The Sazaidō of Gohyakurakanji” and James McNeill Whistler’s “Variations

in Flesh Colour and Green –The Balcony,” which provides prompts for readers to make their own balcony-inspired creations.

A Tale of Two Balconies investigates the elements that make each of these artworks — both in the collection of the National Museum of Asian Art, Smithsonian Institution — unique. Exploring the depicted locations of each (in Edo Japan and Victorian England) enables deeper insight as the authors examine the idea of the balcony itself as a construct at once both private and public — creating a view and juxtaposing the different cultural domains both within and beyond the balcony railing. This stunning book is doublefronted, so readers can begin reading from either side. A carefully-designed center section includes immersive creative prompts and templates through which readers engage with the themes of perspective and recollection in their own art-making activities — collage, drawing and coloring, and a pop-out Hokusai diorama and Victorian Whistler toy theater.

Stratford Antique Center

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T$75M Gift Supports Future Growth On The Art Institute Of Chicago Museum Campus

he board of trustees of the Frick Collection announced the appointment of leading museum director Axel Rüger as the museum’s next Anna-Maria and Stephen Kellen director. He will start in the position in the spring of 2025. Rüger will join the Frick after successful tenures guiding the Royal Academy of Arts in London and the Van Gogh Museum in Amsterdam. Throughout his career as a two-time museum director, he has been recognized as an accomplished arts leader and visionary, with distinct expertise in developing audiences, engaging stakeholders, fundraising, building institutional brands and producing critically acclaimed exhibitions. Previous curatorial positions have included London’s National Gallery, where he was responsible for the collection of Seventeenth and Eighteenth Century Dutch paintings.

The Art Institute of Chicago announced the appointment of Paulina Pobocha to chair and curator of Modern and contemporary art. Her first day is November 1. In her role, Pobocha will lead the Modern and contemporary department to build on the existing success of the department’s program of acquisitions, exhibitions and gallery rotations. She brings vast and diverse expertise as an art historian, writer and curator specializing in art created between 1900 and today. Pobocha joins the Art Institute from the Hammer Museum where she served as Robert Soros senior curator, and has played a crucial role in helping to shape the museum’s contemporary collections and exhibitions program.

TCHICAGO — The Art Institute of Chicago announced a $75 million gift from Aaron I. Fleischman and Lin Lougheed that will support the museum’s future campus vision. This generous gift — the single largest naming gift in the Art Institute’s history — will allow the museum to realize building plans to expand access to the museum’s singular collection, maximize the Art Institute’s iconic location and deliver a world-class experience to Chicagoans and visitors from around the world.

This gift will help support new galleries to house the museum’s iconic collection of late Nineteenth Century Modern and contemporary art in a space to be named the Aaron I. Fleischman and Lin Lougheed Building, which will be designed to offer spectacular views of the park, the city and the lake.

“We are beyond grateful to collaborate with Aaron and Lin to imagine the future of our campus,” said James Rondeau, president and Eloise W. Martin director of the Art Institute of Chicago. “Their exceptional generosity and vision will allow our aspirations to become a reality, and I am grateful for their dedication to Chicago, and to serving our visitors for generations to come.”

Fleischman and Lougheed both have midwestern roots — from Highland Park, Ill., and Ottumwa, Iowa, respectively — but have always lived elsewhere as adults. They are now long-time permanent residents of Florida.

Fleischman began collecting art in the mid-1980s. He has been a trustee of the Art Institute for nearly 15 years and has generously loaned works to Art Institute exhibitions

over the years.

“The Art Institute of Chicago has one of the world’s great art collections,” said Fleischman. “Lin and I are excited about naming a new building that will create additional space for visitors to see more of the collection than they have ever been able to see before, and for the museum to tell a more complete story of Modern and contemporary art. Touring the collections on view and in storage I came to believe that more of the museum’s extraordinary collection needed to be available to visitors and presented in world-class architecture.

“What really solidified our commitment was the vision of the Art Institute and its director James Rondeau. James’s passion and aspirations for the Art Institute are reflected in the museum’s exhibitions, acquisitions, plans for campus expansion and the exciting new building. We are really pleased to be completely aligned with the Art Institute’s vision for the future,” Fleischman added.

This future vision is part of the ongoing exploration for a re-envisioned campus that began in 2019 with architecture firm Barozzi Veiga.

“It’s exciting to be part of Barozzi Veiga’s long-term plan for the Art Institute,” said Lougheed. “The future building plans will add to Chicago’s reputation as the center of innovative architecture.”

Over the past several years, work with Barozzi Veiga has included enhancements to existing spaces, but also an exploration of how to maximize the museum’s entire campus.

“One of my priorities has been to ensure that as our campus evolves, all Chicagoans feel welcome and invited into the Art Institute,” said Denise Gardner, chair of the board of trustees of the Art Institute of Chicago. “This gift will allow us to continue building on our worldclass visitor experience, providing more access, and showing more of our iconic collection than ever before.”

he Istanbul Museum of Modern Art has appointed Çelenk Bafra as artistic director. She has previously directed the Istanbul Biennial and was a curator and director of exhibitions at the museum from 2011 to 2018, as well as running the private SAHA Association, which supports Turkish artists. With 20 years of experience as a curator and director, Çelenk Bafra has conceived numerous exhibitions and art programs across Europe and Turkey, working with biennials, museums, art funds and international residency programs.

The Cahoon Museum of American Art announced the appointment of Leeann Ream as the organization’s curator. Ream’s hiring represents the first time the museum has had a dedicated curator on staff. Ream has enjoyed a successful career in museums throughout the Midwest, including stints at the Toledo Museum of Art, Chicago History Museum and most recently in Wisconsin as assistant curator at the Logan Museum at Beloit College, as well as postgraduate fellow for the Center for Collections Care. Her curatorial interests have been in art focused on issues of gender, labor and Indigenous art. She is also skilled at collections management and interpreting art to the public.

Halperin Foundation Commits $23 Million To ‘Transform’ Southern Dallas Deck Park

DALLAS, TEXAS — Heritage cofounder and co-chairman Jim Halperin’s family foundation has donated $23 million to the city of Dallas, which will go toward the completion and lifetime care of a long-awaited, desperately needed deck park next to the Dallas Zoo.

Previously called Southern Gateway Park, the newly christened Halperin Park — funded by the Halperin Foundation, founded by Jim and wife Gayle — will serve to reconnect neighborhoods separated by a highway 65 years ago and become a destination park for the entire city.

“This city owes a debt of gratitude to Gayle and Jim Halperin,” The Dallas Morning News noted in a recent editorial.

The Halperins’ donation is the largest ever made to a park in southern Dallas — and among the largest donations ever made to a Dallas park.

“Building a park like this one takes years of work,” the newspaper’s editorial board wrote. “It requires lasting partnership among government agencies and generous philanthropists like the Halperin family.”

The donation also unlocked an additional $7.5 million in challenge grants.

The Southern Gateway Public

Green Foundation issued a media release in which president and chief executive officer April Allen said that she is “incredibly grateful for [the Halperins’] genuine commitment to our vision for Southern Dallas. I can’t think of a more fitting name for our future ‘park with a purpose.’”

Dallas media extensively covered the Halperins’ donation. There was coverage from the ABC, NBC and CBS affiliates, as well as stories in The Dallas Morning News and D Magazine

“This donation, by far the largest single gift in our foundation’s history, is profoundly meaningful to our family — and, more importantly, to a part of Dallas that has been overlooked and under-resourced for far too long,” Halperin said. “This donation will serve many purposes. It will use green space to reconnect communities long ago separated by a highway. It will help create a destination park for all of Dallas. And, I hope, it will inspire future generations of Halperins to give back to the city that has given them so much.”

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CLEVELAND, OHIO — The Cleveland Museum of Art (CMA) has announced the major donation of the late Ralph and Terry Kovel research collection to the Ingalls Library and Museum Archives. For more than six decades, the Kovels have been experts in the field of antiques and collectibles, amassing a remarkable and singular library and archive consisting of more than 15,000 volumes and 50 linear feet of research resources and correspondence. This precious trove not only serves as a chronicle of their long careers but also stands as

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Ingalls Library & Museum Archives Receives Monumental Gift Of Kovel’s Research Collection

a unique and exquisite compendium that, through the generosity of Terry Kovel, the CMA is privileged to include in the Ingalls Library and make available to the public.

This gift follows another extraordinary demonstration of philanthropy in 2022, when she gave James Tissot’s “Two Figures at a Door (The Proposal?),” which is currently on view at the CMA.

“The Kovel name is synonymous with expertise in the field of antiques and collectibles,” said Leslie Cade, director of the Ingalls Library and Museum Archives. “The signif-

icance of this gift is immeasurable and provides the Ingalls Library and Museum the opportunity to connect to the large community of collectors who, for more than 60 years, have relied on the Kovel expertise through publications, television shows, newspaper columns and other media.”

Significant not only for its extent of books and publications, the collection also includes rare and unique material that adds a new dimension to the CMA’s holdings, including trade catalogs and sales catalogs from Roy-

croft, Stickley and others; samples, including wallpaper and fabrics; and significant holdings related to antiques and collectibles, including metalwork, furniture, musical instruments, costumes, jewelry, coins and other items. The archival material includes correspondence and research files used by the Kovels to prepare their many publications, newspaper columns and TV shows.

“I’m thrilled that our carefully curated materials have found a new home at the CMA and are available for future generations of collectors, preserving the legacy and crafts-

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manship of these remarkable treasures,” said Terry Kovel. “Our publications were born from a deep passion to share our love for antiques and collectibles with our readers. I’m confident that the CMA will continue this legacy with the same care and devotion.”

The collection will be made available to the public on Terry Kovel’s 96th birthday, October 27, 2024.

The Ingalls Library at the Cleveland Museum of Art is at 11150 East Boulevard. For information, 216-707-2530 or www.clevelandart.org/ingallslibrary-and-museum-archives.

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Sun........................Jewett City, CT.........................2

Sun......................New Milford, CT

Qing Dynasty Censer Achieves Royal Status At Heritage

DALLAS — Heritage

Auctions offered just under 200 lots of Asian art from across the continent in its Fine and Decorative Asian Art Signature Auction, which took place on September 24. Leading the sale was a Chinese cloisonné enamel and gilt bronze tripod censer and cover, dated to the mid-Qing dynasty. The censer had a domed lid which was decorated with five bats in ruyi heads against a turquoise blue ground. Its openwork gilt finial contained stylized lotus blooms and scrolling foliage. The censer’s globular body contained images of the Eight Buddhist Emblems, while its shoulders were flanked by a pair of gilt dragon-form handles. Each dragon was crafted with five claws on each foot, which, according to the auction catalog, was a symbol reserved for the emperor. The entire piece rested on three cabriole legs, which were issued from giltbronze lion masks. With provenance to Manheim Galleries in New Orleans, La., in 1975, the censer sold for $55,000. Additional highlights from this sale will be featured in an upcoming issue.

Set Of Five Chinese Jade Pendants Carve Way To Top At Grogan

BOSTON — Grogan & Company closed its September auction series with a Silver and Decorative Arts auction, which took place on September 26. The sale offered just under 200 lots of decorative art, fine art, furniture, Asian art and antiques, jewelry and collectibles. Leading the day was a lot of five Chinese carved jade pendants, which sold for

more than ten times their high estimate, for a $46,875 finish, with premium. Dating from the Nineteenth and early Twentieth Centuries, the lot had provenance to the collection of a gentleman from Washington, DC; the set of five pendants descended through the family. Additional highlights from this sale will be featured in an upcoming issue.

Tiffany Nasturtium Lamp Brings $825,000 To Top Fontaine’s Auction

PITTSFIELD, MASS. — The top lot of the September 28-29 Fine & Decorative Arts auction conducted by Fontaine’s Auction Gallery was a circa 1905 Tiffany Studios Nasturtium table lamp. Estimated at $300/500,000, the lamp, having a rare mosaic and turtle-back base, attracted a total of 12 active bidders, vying for the lamp online, over the phone and absentee. A standout in the Tiffany collection of Dr Joseph T. Sheridan, the lamp opened for bidding at $220,000. By the time the dust settled with one bidder left standing, it sold for $825,000, including the buyer’s premium, going to a phone bidder. More than 1,000 items crossed the block overall, and the two-day total exceeded $6.5 million. A complete report on the auction will appear in an upcoming edition.

Indian Teakwood Tracery By Lockwood de

Forest Crests At Stair

HUDSON, N.Y. — More than 370 lots crossed the block during Stair’s Design From 1860 to 1910 auction on September 26. Leading the sale after soaring beyond its $10/15,000 estimate was an intricately carved teakwood tracery, made by Lockwood de Forest and the Ahmedabad Wood Carving Company, India. This arched carving, which measured 6 feet 7½ inches high by 10 feet 5 inches wide, was a model of the famous stone windows found in Sidi Saiyyed Mosque in Ahmedabad, India (built 1500 CE). From the collection of Ann and Gordon Getty, the pierced semi-circle panel was bid to $224,000, including buyer’s premium. More comprehensive coverage will be in a future issue.

(Poughkeepsie, N.Y.) Rare Books & Collectibles Lead In Hyde Park Country Auctions’

(Bloomfield, N.J.) Early

(East Dennis, Mass.) Eldred’s

(Geneseo, N.Y.)

(Atlanta) Exquisite

(Columbus, Ohio)

(Willoughby,

(Beacon, N.Y.)

(Downingtown,

(New York

(Alameda, Calif.)

(Tarrytown, N.Y.) Revolutionary War Artifacts & Documents On Display In Tarrytown

(Chicago) Andrea Carlson At The Museum Of Contemporary Art, Chicago

(Newport, R.I.) ‘History, Luxury, Sport: Automobiles In Newport’ At The Audrain Automobile Museum

(Odessa, Del.) ‘An Artist For All Seasons: The Paintings

(New London, Conn.)

(Greenwich, Conn.)

(Riga, Latvia)

(Humlebæk,

Frederick T. Daws Poodle Portrait

Fetches Big Prize At Treasureseeker

PASADENA, CALIF. — On September 22, Treasureseeker Auctions conducted its End-Of-Summer Spectacular Sale, featuring 336 lots from three estates and a notable Indiana collection of art glass. An oil on canvas portrait of a “Sitting Poodle” by Frederick Thomas Daws (British, 1878-1956) led the auction after soaring past its $1/2,000 estimate to achieve $35,200 including buyer’s premium. The white poodle, done with heavy brushstrokes, was depicted sitting on a green upholstered chair, and the work was signed “F.T. Daws 1944” to the lower right. The painting, which measured 19½ by 17¼ inches, was in very good condition. Additional highlights to follow in a future issue.

Early Wooden Trade Sign Stars In Hudson Valley Auctioneers Sale

BEACON, N.Y. — “As expected, this was a very good sale, and attendance and participation were excellent,” said Theo DeHaas, Hudson Valley Auctioneers’ sales manager, regarding the September 23 sale of art and folk art from the Alfred Selnick estate. Top lot was a Nineteenth Century millinery trade sign, double sided and star shaped, made of painted-wood with gilt letters proclaiming, “Millinery And Fancy Goods,” which sold for $42,000, including the buyer’s premium. The sale was devoted to American portraits and paintings, folk art and signs from the Selnick estate. Selnick began his working career in a contractor’s office, followed by an eight-year stint with an architectural-engineering firm. His interest in collecting folk art began in the late 1960s after meeting Phyliss Solomon, who had become a volunteer at the American Folk Art Museum in New York City and had begun collecting American portraiture. Their home and adjoining gallery on a mountainside in Hillsdale, designed by Selnick, displayed

both of their collections. This auction combined both collections, offering a cataloged sale of artwork, folk art and signage, followed by an uncataloged session of various other items. A further report will discuss additional notable highlights.

Lockwood De Forest Armchair Leads At Peterborough

PETERBOROUGH, N.H. — Peterborough Auctions ended September with its Fine Art and Antiques auction, which took place on the 22nd of

the month. The sale offered 366 lots featuring fine art, paintings, prints and various antiques from local estates. Highlights included early New England furniture and two pieces of Aesthetic Movement furniture by Lockwood de Forest and the Ahmedabad Wood Carving Company, which the auction catalog described as “exceptional.” Leading the sale was one of the two aforementioned Aesthetic Movement chairs, this one designed by Lockwood de Forest in December 1881 and manufactured by his Ahmedabad Wood Carving Company in India around 1882-86. The armchair, made of teak wood, featured a carved folate trailing vine motif on all surfaces, as well as a carved top rail crest and center finial, Janus mask support bust finials over its ears and lion-headed handholds with open mouths, among other details. The chair was acquired by the consignor’s grandfather of Troy, N.H., and Jaffrey, N.H., in the 1950s or 1960s and may have previously been owned by Alfred de Forest, the son of Lockwood de Forest. After 11 bids, the chair was seated for a $25,000 finish. Additional highlights from the sale will be featured in an upcoming issue.

Important Fraktur Jump

Starts Dynamic Three-Day Auction For Pook & Pook

DOWNINGTOWN, PENN. —

Between September 25 and 27, Pook & Pook presented three days of sales of folk art, formal and country furniture, decorative art and ephemera, with Pennsylvania German folk art being a leading sub-category. The first lot on the first day — an ink and watercolor fraktur Taufwunsch for Petter Scholige (b 1779, Berks County) attributed to the Sussel-Washington Artist — set the bar high, real-

izing $262,500 and nearly tripling its high estimate. Works by the artist are rare, with only a handful of other examples coming to market in the past few decades. Described in the catalog as “arguably the finest in private hands and rivals that in any institution,” it had been consigned from the Modesto, Calif., collection of Albion P. Fenderson. More highlights from this sale will appear in an upcoming issue.

Among Iconic New York City Imagery, The Flatiron Building Stands Tall

NEW YORK CITY —

The New York Sale was conducted by Swann Auction Galleries on September 26. Featuring 231 lots of posters and photography, the sale celebrated the 400th anniversary of the Big Apple and a 1904 photograph of the Flatiron Building finished as the top lot of the day. The image, Edward Steichen’s (American, 1879-1973) “The Flatiron – Evening,” from Camera Work XIV, was bid to $25,000 including buyer’s premium ($10/15,000). Printed in 1906, the dark, misty green image was a three-color halftone print, double mounted to Japan tissue and the original page mount, measuring 12 by 8½ inches. Further review of the auction will be in an upcoming issue.

Schwenke Sale Offers Silver, Fine & Decorative Arts & Eclectic Items

WOODBURY, CONN. — On Tuesday, October 22, Schwenke

Auctioneers will offer more than 450 lots on behalf of multiple estates and collections from New York, New Jersey, Massachusetts and Connecticut. The sale features more than 130 paintings from a New Jersey collector; a rare Meissen porcelain Chinese-style “nodder” figure from a Princeton, N.J., estate; a Hartford, Conn., Chapin school cherry candlestand from a Massachusetts collection; a Chihuly blown glass yellow Persian art glass sculpture from an eastern Connecticut estate and more.

The fine artworks being sold for a New Jersey collector were purchased over the course of 40 years and represent the fourth installment of more than 400 artworks in the collection that have been sold by the firm. The group includes oils on canvas, oils on board, watercolors and etchings. Notable lots include Edward Moran (American, 1829-1901) oil on canvas “Harbor Scene at Dusk;” Charles Harold Davis (American,1856-1933), oil on board

“Mountain Landscape;” William Graham (American, 1841-1910), “In Campos S.S. Go...Venice” and many more.

Numerous other works of fine art are being sold for other estates. The Princeton estate yielded an oil on canvas seascape by Anne Packard (American, b 1933) and an oil on canvas Parisian street scene by Lucien Adrion.

A selection of contemporary artworks are being sold for a Middlebury, Conn., estate, including several by Dmitri Cavander and an oil on canvas, “Late September House,” by Eric Aho (American, b 1966). The lot includes literature about the artist, with provenance from the Washington Art Association, Washington Depot, Conn. Also from the same estate is a white

Diminutive early Nantucket Lightship Basket.

marble sculpture of a classical young woman by William Couper (American, 1853-1942).

Several lots are being offered for a Waterford CT estate, notably an oil on canvas by ZhenHuan Lu (Chinese American, b 1950). The painting is a porch scene with a Golden Retriever, a rocking chair and an American flag. Another item of interest from this estate is a large left facing American Rockingham mottled brown glaze pottery dog with coleslaw fur, holding a basket with three applied fruits on coleslaw grass, attributed to Lyman Fenton & Co., Bennington, Vt., 1849-58.

Among the artworks and other items from a Killingworth, Conn., estate is a Steinway medium grand piano and bench, in classic ebonized finish, Model M Medium Grand, with a serial number dates to 1960s. This item is being offered from the premises in Killingworth and the purchaser will be able to pick the lot up directly from the home.

Americana lots include a Connecticut cherry serpentine top candlestand attributed to the Chapin shop in Windsor, Conn.; a New York Hepplewhite inlaid mahogany mirror with provenance; and several interesting folk art items, including a patinated copper whale weathervane and a large, carved and painted-wood folk art steamship model with a Maryland history. Selling for another Connecticut estate is an early diminutive Nantucket lightship basket with swing handle.

From a New Hampshire collection is a Continental marquetry inlaid drop leaf sofa table, inlaid overall with leaves and flowers, having end cartouches with brass leafage in starburst design; and a Calamander wood

campaign tantalus with two crystal bottles; and a rare cased brass microscope dating to the Nineteenth Century.

Several significant lots of sterling silver are offered. From an Oxford, Conn., estate is an Art Deco sterling tray with William Lawrence de Matteo mark; and a Gorham “Plymouth” sterling water pitcher.

Sterling items from a Waterford, Conn., estate include a group of 16 sterling footed goblets, comprising a set of eight AG Schultz with conical shape bowls and ribbed top, and four M.E. Freeman flared shaped examples, all marked sterling; a Frank Smith for Tiffany & Co.,

oval sterling tray, elaborate design, monogrammed with Tiffany & Co., stamped over FS mark; two large Gorham sterling serving trays, style numbers 13884 and 13885; and a large Georg Jensen sterling bowl, signed and inscribed on base. Finally, several sterling lots from a Norwich, Conn., estate include a pair of Howard rococo sterling candlesticks, signed “Howard & Co New York;” a Tiffany & Co., custom sterling silver flatware service, comprising four table/serving spoons, 12 forks, 11 teaspoons, 18 tablespoons and five butter spreaders; and an assorted compatible sterling flatware service, 111

pieces total, all in a pointed handle pattern, including Dominick & Haff, Reed & Barton, Towle, Gorham, Bigelow Kennard, and Tiffany & Co.

The catalog for the sale is viewable at www.woodburyauction. com. Absentee and phone bidding are available for this liveonline auction by registering directly with Schwenke Auctioneers. The sale will be broadcast for live internet bidding on Live Auctioneers and Invaluable. Live preview will be conducted Friday and Saturday before the sale, and at other times by appointment. For information, 203-266-0323 or www.woodburyauction.com.

Shared Beginnings: ‘McKinley High & Modern Art’

HONOLULU, HAWAII — This fall, the Honolulu Museum of Art (HoMA) celebrates the outsize creative impact of a single public school on visual art in Hawai’i with, “Home of the Tigers: McKinley High and Modern Art,” on view until January 12. The exhibition charts the history of Twentieth Century artistic movements in Hawai’i and beyond through the work of seven extraordinary artists who emerged from the same high school in downtown Honolulu and three teachers who inspired them.

Just down the street from HoMA, McKinley is one of Hawai’i’s oldest public high schools. Its student population has historically represented a cross-section of Honolulu, including many students from Japanese, Chinese, Korean, Native Hawaiian and Pacific Islander communities. Several artists who attended between the 1920s and 40s, including Satoru Abe, John Chin Young, Ralph Iwamoto, Keichi Kimura

and Robert Kobayashi, went on to help define abstract painting and sculpture from Hawai’i in the post-World War II period.

Raymond Han, class of 1949, became a painter of remarkable still-life compositions. A generation later, Imaikalani Kalahele, class of 1966, emerged as a renowned poet, visual artist, musician and activist from the Kanaka ‘Ōiwi (Native Hawaiian) community.

Alongside their works, the exhibition presents those of their art teachers at McKinley — Minnie Fujita, Charles Higa and Shirley Russell — all significant figures in their own right. “Because so many artists went to this one downtown high school, we felt it could be a novel way to look at art from Hawai’i across generations and cultural backgrounds,” said Tyler Cann, HoMA’s senior curator of Modern and contemporary art. “We wanted to create an exhibition very much tied to this place and community that could also tell larger stories of Modern art and

social history.”

Cann is co-curator of the exhibition with Alejandra Rojas Silva, HoMA’s works on paper, photography and new media fellow. “On O’ahu, the first question often asked when meeting someone is where they graduated high school,” said Rojas Silva. “The answer can say a lot about their background and experience and helps you find mutual connections. In its way, ‘Home of the Tigers’ stages that kind of conversation.”

While “Home of the Tigers” highlights shared connections to McKinley, each artist found inspiration in their varying backgrounds and experiences. Several became immersed in the currents of the New York art world. Following their service in World WarII, Kimura, Kobayashi and Iwamoto settled in New York City where they worked at the Museum of Modern Art. Abe and Han also moved to New York to attend the Art Students League. While Han, Iwamoto and Kobayashi

all remained in New York, Abe and Kimura returned to Hawai’i and became significant figures in the development of modernism in the islands alongside John Chin Young. Kalahele was drafted into the war in Vietnam and returned to

become a powerful voice for Native Hawaiian values, resistance and cultural revival.

The Honolulu Museum of Art is at 900 South Beretania Street. For information, 808532-8700 or www.honolulumuseum.org.

Edward Moran, oil on canvas, “Harbor Scene At Dusk.”

Large folk art painted wood steamship model.

John Young (American, born Hawai’i, 1909–1997), “Koolau Mountains,” 1983, oil on canvas. Honolulu Museum of Art. Anonymous gift (5168.1). Photo courtesy of The John Young Foundation.

Matthew Joseph King, Antiques Dealer, 64

Submitted by the Family MARSHFIELD, MASS. — Matthew Joseph King of Marshfield passed away suddenly and from natural causes on August 14, 2024, at the age of 64.

Matt was born in Weymouth, Mass., on July 11, 1960. His parents were Leo, a special education teacher, and Faith King. He grew up in the tightly-knit community of Scituate’s West End, and attended Scituate High School, where he excelled in both academics and wrestling. After high school he attended the University of Massachusetts, Amherst, where he earned a Bachelor of Science degree in Biochemistry and where he met his future wife, Joanne. Soon after, they moved to Marshfield where they raised their two children, Kevin and Sara. Matt was eternally devoted to his children and cherished the time he spent with them. He was passionate about antiques, wrestling and music. He truly loved nature and all animals, especially his dogs, Tory and Niko. He was a volunteer wrestling coach for Scituate High School for more than a decade. He was also the Marshfield youth wrestling coach for many years. He significantly impacted countless lives during his time as a coach.

Matthew Joseph King (1960-2024)

Early in his career, he worked for Clean Harbors in Norwell, Mass., and moved furniture for Burkhardt Brothers in Scituate. Matt was well known and respected in the antiques world as well. His peers remember him as a knowledgeable historian who loved to share his knowledge with the community. He was cared about by so many. To know Matt was to love Matt. In 2012, Matt’s sister-in-law, Maureen Stanton, published Killer Stuff and Tons of Money, An Insiders Look at the World of Flea Markets, Antiques, and Collecting, which was based on Matt, who was identified in the book by the pseudonym, “Curt Avery.”

He was predeceased by his parents Leo and Faith King and his sister, Judy King. He is survived by his son Kevin King, of Greenwich, Conn., and daughter, Sara King, in Hanover, Mass., as well as his two sisters, Elizabeth King Hatch and Mary King and many other beloved family members.

Visiting hours took place on Thursday, August 22, at the MacDonald Funeral Home, at 1755 Ocean Street in Marshfield. The Funeral Mass was celebrated on Friday, August 23, in St Christine Parish Church, also in Marshfield.

C ompiled by

H Hm adelia h i C kman R ing , e dito R I moved to the West End of Scituate, Mass., in the late 1970s and met Matt. We used to dig for bottles together a lot. We’d go to bottle shows in Saratoga, N.Y.; York, Penn., or Brimfield, Mass., and share booth space. We might sleep in a tent or in the car or under tarps.

One time, we were digging for bottles behind a row of houses in Kingston, Mass.; the police came and asked us what we were doing. They were very aggressive and kept asking us, “Do you know whose house that is?” Matt tried to de-escalate the situation and asked if it was the chief of police’s house. The officers informed us it was the house of Henry Meinholz, Jr, who had killed a neighborhood girl and buried her body in the basement. The police followed us out of town that day.

Matt was faithful and fair but competitive. I remember once we went to an auction near Cape Cod that had a rare Stoddard New Hampshire glass house medicine bottle and it was selling while we were at Brimfield. I left a $1,000 absentee bid on the bottle and we both went back to Brimfield and set up. The next day, I found out that Matt left Brimfield, drove 100 miles to bid live and won the bottle. He was that determined.

When he would go to shows, he would never stay in his booth, he was always out looking. One time I got an early New England bottle from the table next to us because he was off looking around the show.

We played fair and stayed friends. He met and embraced all my friends and my fiancé,

In Memoriam

it was great. He started out bottle digging and for the first 20 years, that was all he did. Then he worked for auctions and gradually expanded what he knew. He was always asking questions and handling things. In his later years, he kind of faded away from bottles because he saw the beauty in everything that was out there, all of it. He wasn’t afraid to experiment and usually did well.

I’ll really miss him.

Carl Pratt Sandwich, Mass.

I’ve been selling to and buying from Matt since I was 16 years old. I first met him at the Brimfield shows and was always struck by his passion for the material. I’m pretty

sure that every show I’ve ever set up at that he was also at, he purchased something from me and I bought from him as well.

One of my favorite signs that I bought from him was at the Wells, Maine, show, a pointing hand sign that says, “To the Auction.” My daughter was five years old at the time and walking through the show with me. We got to Matt’s booth and bought the sign. When I was paying up, she leaned over and said out loud, “Dad, this stuff is a bunch of junk!” Matt and I both laughed like hell. I will miss him.

Josh Steenburgh

When Holly and I first started attending bottle shows in the early 90s, we met Matt

and began what would be a 30-year friendship. At that time, Matt was selling some of his New England utility bottle collection and Holly made our first major purchases from him. Matt not only explained the history of the objects to us but also provided us with important lessons on how to distinguish good from better from best. Most importantly, he also allowed us to pay him over time — I think our first purchase cost us $65 and, as I recall, we paid him $25 down, sent another $20 in a month and paid the balance at the next bottle show a month after that. Matt was always willing to work with folks and share his knowledge, particularly if you were a new collector. Over the 30 years of our

friendship, we watched him mentor young people time and time again and that is, to my mind, a very important part of his legacy.

As our tastes evolved, Matt provided us early lessons about redware, stoneware and Seventeenth and Eighteenth Century furniture. He was well versed in a variety of categories and a fixture at bottle and antique shows across the Northeast. Holly and I referred to Matt as “the hardest working guy in the antiques business” and we greatly admired his drive and determination. Matt worked Brimfield as hard as anyone I know of and he was a welcome sight, whether he was set up and selling or prowling the fields with his ready smile. Over the years, he uncovered some fantastic objects, utilizing both his keen eye and hard earned knowledge from being in “the trenches.” Some of Matt’s most memorable exploits are recorded in a book written by his sister-in-law, titled Killer Stuff and Tons of Money

Holly and I did a tremendous amount of business (both buying and selling) with Matt over the years and we never once had a disagreement or a disappointment. Some of my fondest memories are of Matt and I meeting in the parking lot of the Flying Pig during the Covid years. I would bring several folding tables and Matt would bring 50 to 100 great bottles from his collection for me to consider. We purchased some fabulous bottles during that time and we have kept many of them for our personal collection. Matt loved those meetings as much as I and we shared many laughs in what was otherwise

Matt King at the 29th Annual Cape Cod Glass Show, September 17-18, 2016. Jackie Sideli photo for Antiques and The Arts Weekly.

From left, Eric Correia, Jeff Noordsy, Gene McCain, Matt King and Robert Girouard. Photo courtesy of the King family.

a pretty difficult and lonely time for many of us. I will never forget the day that Matt had laid out a group of material on the tables, stepped back, spread his arms and asked (like Russell Crowe’s character, Maximus, in the movie Gladiator ) … “ Are you not entertained???? ” I certainly was and it became a running joke between the two of us every time we saw each other. There will never be anyone quite like Matt King and that’s a loss for all of us. He was a great man, a great friend and a great dealer of the highest principles.

Jeff Noordsy Cornwall, Vt.

To the family and friends of Matt King, whose passing left us all deeply saddened.

I met Matt at the Brimfield Antiques Markets decades ago, and from that first meeting always looked forward to our next.

Matt was a skilled antiques dealer whose knowledge of several fields made visiting his booth at one of the many shows he exhibited in, a treasure hunt all its’ own.

I recall with great pleasure one of the shows I was exhibiting in, Matt stopped by to see what offerings I had brought. He quickly inquired about an Eighteenth Century religious triptych in magnificent condition and color, which I would never have figured Matt would be interested in. But, after a short conversation, Matt’s knowledge and intuition came to light and he cheerfully said, “I’ll take it!”

What makes this little episode so special is that Matt’s “eye” was not only known for his specialty in American stoneware, early iron, lighting devices, folk art and wonderful smalls, but he was a true “picker” of material culture who maintained his humble personality and deep respect for the antiques business he so loved and the people who found Matt a true treasure.

The last time I saw Matt was during Antiques in New Hampshire, at Peter Mavris’ show, where he was set up. Though he was using a cane, he never stopped for a minute to greet and assist customers and write

up a sales slip. It is in that memory how I choose to remember Matt, doing his thing. With heartfelt condolences, Frank Gaglio Barn Star Productions

My husband knew him since they were both teenagers on the south shore picking 40 years ago! I met him when I did the first Brimfield North show in 2021, during Covid when we couldn’t do shows in Mass. He was so supportive of our N.H., show, he never missed a show. Always had the same spot and was very generous with his knowledge to all of the new vendors around him. One funny thought was his car was always in disarray, which made me chuckle every time. I’m laughing now as I remember him pulling in. He really was a great guy. It’s really just a shame.

Klia Ververidis Crisafulli

When I first accompanied Matt to a flea market, I had no idea that he had transformed himself into a knowledgeable antiques dealer. But over the eight years I spent intermittently traveling with him to get a glimpse inside that world — to auctions, flea markets, museums, antiques shows — I saw the respect that he’d earned from his peers, which was because of the expertise he’d developed from years and years of hard work, from studying obscure historical documents, auction catalogs, and books and from the miles and miles of “field work,” just looking at and

handling objects, talking to people, going to museums. What drove this incredible decades-long effort was a deep love and passion for the objects, the history they tell and the stories they keep. Toward the end of my time with him, as I wrote in Killer Stuff , I asked him if he was still having fun selling antiques, and part of his answer was this: “It’s not about the money. If I wanted money, I’d become a banker. It’s not about the passion of the hit. It’s the passion for the things, the love of the objects.”

I will be forever grateful to Matt, a.k.a. “Curt Avery,” for letting me into his world, for being such a smart, witty, fun guide, and for the generosity of taking the time to teach me — he’s a teacher at heart — so that I could share with readers his passion for historical objects and the story of an antiques’ dealer’s life. Matt was as rare a treasure himself as the unique and beautiful objects he loved, collected, and traded.

Maureen Stanton

I’ve known Matt about 15 years; he did our Tailgates, he

was a dealer at Flying Pig and also at our Walker Homestead shows.

He was one of the hardestworking dealers I’ve ever known. At Brimfield, he would do field after field; it’s a heck of a lot of work. He could put more things in a vehicle than anyone I know; he could come in a little car, set up a nice booth and have more things than anyone else. He worked really hard at it, even when his body wasn’t working really well.

He was very proud of his kids and talked about them all the time; they meant an awful lot to him.

One of the first pieces of redware I bought for my personal collection was one I got from him and I’m really glad I had the opportunity to know him. It’s funny: wherever I go, I think I see him.

He was very modest; I don’t think he realized how many people he affected. He was really special and he’ll really be missed.

Kris Casucci

Matt first impressed me back in 1989 with his pursuit of glass. As the years passed, I realized he had accumulated a wide and vast knowledge of many categories of antiques. Matt was a great antiques dealer. Antiques, art and artifacts were a perpetual quest. Perhaps his greatest passion was for collecting Pilgrim cen-

tury furniture from the South Shore of Massachusetts. Matt King was a unique individual who will be sorely missed by those involved in the field of antiques. He will always be remembered as a true enthusiast and antiquarian.

Norman Heckler,

Jr

It’s another pillar down in the business because Matt was that steady of a player in the game. For him, it was always about the stuff. He was always willing to share his knowledge, that was his thing. He really appreciated the rarity of things and was like a kid in a candy store about this stuff. He was just always there and always interested, no matter the object. Events are just different without him there. You could always count on him. You could set up next to him at a show and he would buy something from you every day, even if you didn’t have something new. I remember I bought an antique a few years ago that Matt wanted. I wanted to hold on to it for a while but he would ask me about it every time he saw me. He really had the wherewithal to pursue things, particularly things from the Northshore of Massachusetts, which was his area. In a business where there’s no licensing and no vetting, your reputation is everything. Matt had a very good one.

Ian McKelvey

Undated photo courtesy Jeff Noordsy.

Undated photo courtesy Jeff Noordsy.

Undated photo of Matt King and Justin Thomas. Kris Casucci photo.

Matt King with a favorite thing — a carved deer lamp — he discovered on the South Shore of Massachusetts and brought to the 44th Vermont Antiques Dealers’ Association show, September 29-30, 2016. Rick Russack photo for Antiques and The Arts Weekly.

Undated photo courtesy Kris Casucci.

Undated photo courtesy Kris Casucci.

Swann’s American Art Sale Sets Multiple Auction Records

NEW YORK CITY — Paintings were all the rage at Swann Auction Galleries’ American Art sale, which was conducted on September 19. The 137-lot sale, totaling $643,048, offered US-based and internationally-composed landscapes, portraiture and still lifes, among others

“The sale saw collectors, dealers and institutions purchasing,” said Kelsie Jankowski, communications manager at Swann. Jankowski also noted that 14 new buyers purchased lots during the sale.

Leading the day was “Dark Inlet,” an oil on canvas completed in 1980 by New York native, March Avery. The work was

signed and dated both on the upper lefthand corner and in ink on the stretcher verso. The painting had provenance to Summit Gallery in New York City — a label for the gallery was affixed on the reverse — as well as a private collection in Woodstock, N.Y. Earning $47,500, a new auction record for an Avery painting, it far surpassed its $10/15,000 estimate.

Landscapes, particularly those containing trees, were popular among bidders. Aptly titled, “Trees” by Arthur Dove, a watercolor on cream wove paper, dug its roots in at $17,500, comfortably within estimate. Most likely painted when Dove relocated to Geneva, N.Y., circa 1934, the Mod-

Setting a new auction record for March Avery (New York, b 1932), and earning the highest price of the sale, was “Dark Inlet,” an oil on canvas completed in 1980 and titled, signed and dated in ink on the stretcher. Measuring 34 by 50 inches, the painting flew past its $10/15,000 estimate to earn $47,500.

“Landscape with Trees” by Thomas Hart Benton (Missouri, 1889-1975), circa 1920, oil on paper laid on board, 8½ by 11 inches, dug its roots in at $17,500, surpassing its estimate ($8/12,000).

of

ernist work had extensive provenance in New Jersey and New York to both galleries and private collections, the auction catalog reported. The work was also exhibited in 2011, at the DC Moore Gallery, New York City, as part of its exhibition titled “Modern America, 1917-1944.”

Also earning $17,500 was Thomas Hart Benton’s circa 1920 painting “Landscape with Trees,” which surpassed its $8/12,000 estimate. In 1909, Benton became acquainted with Stanton Macdonald-Wright, an American Synchromist, who, according to the auction catalog, “influenced Benton to experiment with Impressionist and Pointillist techniques and to use a broader range of color.” Using the spiral form technique of the Synchromists, Ben-

ton’s oil on canvas depicted trees in black and white, mounted on an 8½-by-11-inch board.

Continuing with the tree theme, “The Pink Tree” by Swedish native Carl Sprinchorn grew to $11,875, nearing the high end of its $8/12,000 estimate. The oil on canvas was painted in 1941, during a 20-year period when Sprinchorn summered in north-central Maine.

The auction catalog added that his artwork of the area “depicts the working lumberjacks and woodsmen, their camps and forests.” The painting had provenance to Pensler Galleries in Washington, DC, a private collection in New York, Tom Veilleux Gallery in Portland, Maine, and a Connecticut collector. It was also exhibited at the American Swedish Historical Museum (Philadelphia), Macbeth Gallery (New York City) and the Bates College Museum of Art (Lewiston, Maine).

Cityscapes also proved to be popular, with three prominent examples in the top 16 bestselling lots.

“Fifth Avenue, New York, In Snow,” by second generation

American Impressionist Guy C. Wiggins, depicted New York City in the snow. The circa 1940 oil on canvas was previously auctioned by Swann Galleries in 2020, where it sold to a private collector in New York. Now, in its second auction with the firm, the painting earned $27,500.

The year “Arrangement” by Glenn O. Coleman was painted, 1927, was a turning point for the artist, as the auction catalog explains: “he started to move away from depicting people to focus on formal compositional elements… Coleman was concerned with showing the rapid growth of New York, and stressed the intersection of form, shapes and lines.” The oil on canvas was acquired by the estate of Sydney Kellner, where it remained in California with his family until it was consigned by Swann Galleries for this auction; it finished at $13,750.

Portraits and figural paintings were led by “Home of Madame H.” by Michigan native Letta CrapoSmith, which finished with the second-highest price of the sale,

Auction Action In New York City

Will Barnet’s (American, 1911-2012) study for “The Chess Game” was done in watercolor and pencil on vellum circa 1973 and measured 31¼ by 41½ inches ($7/10,000).

“Arrangement” by Glenn O. Coleman (American, 1887-1932), 1927, oil on canvas, 23-5/8 by 20-5/8 inches, built its way up to a $13,750 finish ($15/20,000).

“Portrait of Robert Ainslie” by Rembrandt Peale (Pennsylvania, 1778-1860), late Eighteenth to early Nineteenth Century, oil on canvas, 24 by 20 inches, sat for $20,000, more than doubling its high estimate ($6/9,000).

“Home of Madame H.” by Letta Crapo-Smith (Michigan, 1862-1921), circa 1909, oil on canvas, 24-5/8 by 21½ inches, set a new auction record for the artist leaving the sale at $42,500 ($12/18,000).

Review by

Kiersten Busch, Assistant Editor Photos Courtesy Swann Auction Galleries

“Study

Sheridan Square” by Samuel Halpert (1884-1930), circa 1920, oil on canvas, 18½ by 23 inches, sold for $11,250 ($7/10,000).

“Winter, Bucks County” by Robert Henri (American, 1865-1929), 1901, oil on panel, 8 by 10 inches, warmed up to $11,875 ($7/10,000).

This bound autograph book of sketches from Rockwell Kent’s time aboard the Hans Edge dated to 1933-36. Measuring 7 by 5½ inches, the book sailed to $15,000, far surpassing its $5/8,000 estimate.

and a new auction record for the artist’s work. Signed lower left, the painting had provenance to a private collection in New York and was exhibited in the 104th Annual Exhibition at The Pennsylvania Academy of the Fine Arts in Philadelphia in 1909. Its provenance and exhibition history attributed to its $42,500 finish, which surpassed its $12/18,000 estimate.

The third-highest selling work in the show went to a charcoal on Michallet laid paper portrait by John Singer Sargent, titled “Portrait of Gladys de Portal Kingsmill (Mrs Redmond McGrath, née Gladys Francis Johnson).” The portrait had extensive provenance, including a descent in the sitter’s family until 1983, when it was sold by Sotheby’s, London, in a November sale. The painting was eventually consigned from the estate of Everett Raymond Kinstler, who purchased the work in July of 1986. Exhibition and publication history added to the drawing’s allure, bringing it to $37,500. Artist and illustrator Rockwell Kent was represented by two lots in the sale: “Sailor’s Farewell” and a bound autographed book of sketches he completed while aboard the Hans Edge from 193336. The former, which surpassed its $15/20,000 estimate to achieve $32,500, was a watercolor and pencil painting done in 1935 on cream wove paper which had provenance to the artist, the dedicatee, Charly Mortensen, and a private collection from Boston. The latter, which also included two ink drawings by Kent, closed its cover for $15,000, far above its

“The Pink Tree” by Carl Sprinchorn (SwedishAmerican, 1887-1971), 1941, oil on canvas, 25 by 30 inches, realized $11,875 ($8/12,000).

This gouache and charcoal on vellum work was done by Will Barnet (American, 1911-2012) as a study for his “Cat and Canary” lithograph. Measuring 33¼ by 42 inches, the study finished at $11,875 ($7/10,000).

“Portrait of Gladys de Portal Kingsmill (Mrs Redmond McGrath, née Gladys Francis Johnson)” by John Singer Sargent (American, 18561925), 1919, charcoal on Michallet laid paper, 23-5/8 by 18¼ inches, sold for $37,500 ($30/50,000).

$5/8,000 estimate. There were also seven photographs of the ship included in the lot. No diverse art sale would be complete without a few paintings of furry friends. Two works by Will Barnet featured cats: a study for “Cat and Canary,” a gouache and charcoal on vellum painting which went for $11,875, and a study for “The Chess Game,” a watercolor and pencil on vellum which earned $11,250. While this rendition of “Cat and Canary” was a study for Barnet’s 1971 lithograph — printed by Mourlot, New York, and pub-

Floating to $11,875 was “Untitled (Ghostly Figures in a Landscape” by Marsden Hartley (1877-1943), 1909, oil on board, 10¼ by 12¼ inches ($10/15,000).

With provenance to multiple New Jersey and New York collections, “Trees” by Arthur Dove (New York, 1880-1946), circa 1934, watercolor on cream wove paper, 5 by 7 inches, grew to $17,500 ($15/20,000).

“Sailor’s Farewell” by Rockwell Kent (New York City, 1882-1971), 1935, watercolor and pencil on cream wove paper, 13¼ by 9-3/8 inches, realized $32,500, surpassing its estimate ($15/20,000).

lished by Associated American Artists — the study for “The Chess Game” was used for his oil on canvas of the same name, displayed at the Wichita Art Museum.

After the sale, Meagan Gandolfo, specialist for American and contemporary art at Swann Galleries, shared, “Aside from setting auction records for three artists, we continue to be among the leaders in sales results for Rockwell Kent

“Fifth Avenue, New York, In Snow” by Guy C. Wiggins (New York City, 1883-1962), circa 1940, oil on canvas, 24 by 17 inches, crossed the block for $27,500, surpassing its estimate ($15/20,000).

and Will Barnet works on paper. I was curious how our buyers would respond to some atypical or early works from Robert Henri, Marsden Hartley and Thomas Hart Benton in the sale, and they all sold very well, proving that there is a robust market for these types of experimental works. This particular American art sale was special to me, being the first sale I've led independently. I hope to build

on this success next year and continue to offer valuable, curated selections of artwork.”

The next sale of fine art at Swann will feature Old Master Through Modern Prints and will take place on October 17. Prices quoted include buyer’s premium as reported by the auction house. For more information, 212-254-4710 or www. swanngalleries.com.

PORTSMOUTH, N.H. —

Centennial Auctions of North Conway, N.H., will conduct its next live numismatic auction on Monday, October 14, at the

Numismatic Auction Set For October 14 By Centennial Auctions

Holiday Inn in Portsmouth.

This auction includes a George Washington inaugural button; more than 200 US and world gold; New Hampshire

and Vermont obsolete and national currency; US and world type; albums; 90 percent silver; more than 1,200 Morgan and Peace $1; tokens

and medals.

Centennial is a subsidiary of Scofield Auctions, established in 1981 and specializing in the sale of coins and stamps.

The Holiday Inn is at 300 Woodbury Avenue. For additional information, 603-3565765 or www.centennialauctions.com.

Fine Watches Top Off The Day At Roland Auctions N.Y.

Auction Action In Glen Cove, N.Y.

The top selling lot of the sale was this A.F.P. Journe Souverain Chronometre manual windup power reserve wristwatch with a grey dial and black leather band, which ticked to $40,625. It came in a Laco box.

GLEN COVE, N.Y. — An eclectic collection of fine men’s watches got all the attention, and the top bids, at Roland Auctions’ Estates Auction, conducted on Saturday, September 21. Featuring around 100 lots, the sale’s focus was on the aforementioned watch collection, but also featured antique furniture, contemporary and fine art, decorative items of all kinds, textiles, jewelry, rugs, collectibles and Asian items.

Getting a lot of pre-auction attention was an A.F.P. Journe Souverain Chronometre manual wind power reserve wristwatch in 18K yellow gold, which had a grey dial and a black leather band. Its serial number was “614-CS,” and it came with a Laco box. The watch sold for $40,625. A Patek Philippe Gondolo manual wind dress wristwatch in 18K yellow gold had a grey dial, a brown leather band and a reference number of “5111J.” The lot was accompanied by a catalog, receipt of sale and Laco box; it sold for $12,500. A Vacheron Constantin overseas

chronometer automatic wristwatch in stainless steel with a blue date dial, steel band and reference number “42050,” sold for $9,375. Going for $11,250 was a Patek Philippe 18K yellow gold manual wind dress wristwatch with a tan dial and a black leather band, which had a reference number “3923/J” and came with its

Clocking in at $9,375 was this Vacheron Constantin overseas chronometer automatic wristwatch in stainless steel. The watch had a blue date dial and steel band.

This Patek Philippe Gondolo manual windup dress wristwatch earned the second highest price of the sale, at $12,500. The 18K yellow gold watch, housed in a Laco box, had a grey dial and brown leather band and was accompanied by a catalog and receipt of sale.

box. Rounding out the auction highlights was an IWC Schaffhausen Ingenieur chronometer black t-dial stainless steel automatic wristwatch with a black date dial and stainless steel band. Its face was 22 millimeters in diameter and had a serial number of “2641851”; it sold for $5,625.

In the art arena, the firm presented an Italian School Madonna and Child scene. The

This Italian School painting of the Madonna and Child was done after “The Bartolini Tondo,” a Seventeenth or Eighteenth Century oil on wood panel painting by Filippo Lippi (Italian, 1406-1469). The work was housed in a Baroque giltwood frame and measured 51 by 31½ inches.

oil on wood panel painting was after a Seventeenth or Eighteenth Century interior Renaissance scene titled, “The Bartolini Tondo” by Filippo Lippi. The original painting, along with this example, depicted scenes from the life of St Anne, the mother of Mary, who was seated with the Christ child on a throne. The work was housed in an elaborately carved Baroque giltwood and sgraffito frame. The original painting is in the Galleria Palatina, Palazzo Pitti, in Florence, Italy. It sold for $8,125.

Additionally, a Georgy Bashinzhagyan (Armenian, 18571925) landscape with river and cottages, an unframed oil on canvas painting which dated 1911, was signed and

dated lower right. The 31-by50-inch painting went for $5,937.

In other areas, a set of 12 Smith & Watson “Hepplewhite Wheelback” Georgian mahogany dining chairs had spider web backs and rosette details, and were upholstered in Verasetta apple green wool satin. With custom gimp by Christopher Hyland, the 38-inch-high chairs sold for $8,125. An Asian bronze figural censer, possibly Chinese or Japanese, done in the archaic manner and modeled as a mythological beast, possibly a tapir, had gilt decoration and sold for $3,750. Prices quoted include buyer’s premium as reported by the auction house. For information, 212-260-2000 or www.rolandantiques.com.

Rare & Important Travel Posters

At Swann Galleries October 10

NEW YORK CITY — The Thursday, October 10, Rare and Important Travel Poster auction at Swann Galleries is a journey around the world and a trek through the Who’s Who of famous travel poster designers, with works by Leslie Ragan, Bern Hill, Roger Broders, Gert Sellheim, Otto Baumberger, Hugo d’Alesi, Mario Borgoni, Mark von Arenburg, Stan Galli and many others. From the golf links of France, through the coastal towns of Japan, from Hawaiian beaches to the Russian steppes, and the United Kingdom, across Europe, and to India and Australia, many of the world’s major tourist sites are explored.

Leslie Ragan leads the auction with The New 20th Century Limited / New York Central System, 1939, a powerful Art Deco image of one of the last century’s most famous American trains ($12/18,000). Related material includes a circa 1943 oil maquette featured in the 1944 calendar back showcasing the same iconic train — the 20th Century Limited — set among the Hudson Valley’s fall foliage ($8/12,000); and The World’s First Streamlined Steam Locomotive, a circa 1934 gouache maquette for an unrealized poster depicting the Commodore Vanderbilt, is also present ($6/9,000).

American travel is featured with a strong focus on the East Coast. Of note is Chesley Bonestell’s New York Central Building / At the Gateway to a Continent, 1930 ($8/12,000), Edward M. Eggleston’s Atlantic City / America’s Great Seashore Resort / Pennsylvania Railroad, circa 1935 ($6/9,000), John Held Jr, Nantucket, 1925 ($6/9,000) and Palisades Amusement Park, 1909. Midcentury advertisements for Hawaii are led by Paul George Lawler’s Hawaii by Flying Clipper / Pan Amer-

ican Airways System, 1939 ($12/18,000), also of note is a run of Pan Am airline posters for the island. Top highlights advertising travel to Europe, Asia, and beyond include Roger Broders with Sur La Cote D’Azur, circa 1931 ($5/7,500); N. Strekalovsky with Misr – Airwork / Egyptian Airlines, circa 1934 ($2/3,000); Gert Sellheim with Australia / Great Barrier Reef Queensland, circa 1937 ($1,2/1,800); Dick Negus & Philip Sharland with Fly by BOAC / Middle East, 1954 ($700-$1,000); and See Sumatra, circa 1935, which advertises travel to Indonesia ($800$1,200).

Airlines, trains, and ocean liners are all on parade as the means of transportation for willing tourists to visit some of the most beautiful and exotic places around the globe round out the auction. Aviation includes Adolphe Mouron Cassandre’s Flèche D’Argent / Aéropostale, 1929 ($8/12,000), and Umberto Di Lazzaro’s Crociera Aerea del Decennale XI, 1933, promoting the second transatlantic mass-formation flight jointly sponsored by the Italo-American Petroleum Society and the Italian government ($8/12,000). Rail travel features Pierre Fix-Masseau’s Exactitude, 1932 ($8/12,000) and A. Stepanoff’s rare The Trans – Siberian Express / 12 Days Paris – Peking, circa 1925, published by the Chinese Eastern Railway Company ($5/7,500). Ocean liners include Willem Frederick Ten Broek’s New York Exposition Mondiale / Holland –American Line, 1938, which used the New York World’s Fair as an enticement for passengers ($5/7,500), and Richard Oliver’s Yeoward Line / An Ideal Holiday Cruise, circa 1920 ($1/1,500).

Exhibition hours are 12 to 5 pm on Saturday, October

Collective Hudson To Host Everything French Auction

KINGSTON, N.Y. — On Sunday, October 20, at 5 pm, Collective Hudson is set to auction a significant artifact believed to be the altar antependium from the Royal French Order of Knighthood of the Holy Spirit. This order was established by King Henry III of France in 1578, originally to replace the Order of St Michael, which had fallen into disrepute. The Order of the Holy Spirit was founded to commemorate Henry III’s accession to the throne, which took place on Pentecost Sunday.

Designed to honor France’s highest echelons of nobility, membership in the order was marked by prestigious ceremonies involving a long, black velvet mantle adorned with gold embroidery and red flames, symbolizing the order’s sanctity and the Holy Spirit’s fire.

This particular piece, ideal for enhancing any historic or Renaissance-themed setting, is a finely crafted monastery hostelry altar front piece from the Royal Château de Chambord. It features wood-carved with intricate designs, exemplifying the solemn grandeur and spiritual

significance historically associated with the Order of the Holy Spirit.

Post-French Revolution, the order was officially abolished and briefly reinstated under the Bourbon Restoration, before being permanently disbanded following the government changes after 1830. However, its legacy

5, and Monday, October 7, through Wednesday, October 9. Bidding is available through online platforms, absentee, the phone and live in-person. Live online bidding platforms will be the Swann Galleries App, Invaluable, and Live Auctioneers.

Swann Galleries is at 104 E 25th Street, Fl 6. For information, 212-254-4710 or www.swanngalleries.com.

and activities were maintained by the International Commission of Orders of Chivalry.

Provenance is from the Schmitt family collection. René Schmitt (1896-1951) served as deputy secretary general of the SFIO, secretary general of the Federation of the Democratic and Socialist Left, former deputy, for-

mer mayor of Cherbourg, and a former minister to the assembly after the liberation.

Also in this sale is an array of more than 30 clocks, spanning styles and periods from the Eighteenth to the mid-Twentieth Century, including works from the French Empire and Art Deco periods. The auction also features more than 120 pieces of art from renowned artists like Charles Dufresne and Georges Braque, alongside a curated selection of French furniture and lighting that showcases the depth of French craftsmanship. Additions such as jewelry from Cartier and Lalique and other rare collectibles will cross the block.

Preview is by appointment only, Wednesday – Sundays, 11 am to 4 pm; no preview on day of sale.

Collective Hudson is at 34 Post Street. For additional information, 845-514-2218 or www.collectivehudson.com.

Will buy for cash or will

Leslie Ragan, New York Central System / The Highlands of the Hudson, oil maquette for a calendar back, circa 1943 ($8/12,000).

King Henry wearing the collar of the commanders of the Order of the Holy Spirit.

Lounge Chairs, Lamps & Lavish Tableware Are Fall Trends At Sloans & Kenyon

CHEVY CHASE, MD. — Sloans & Kenyon started September off right with their September Estate Catalogue Auction, conducted on the 12th of the month. The 510-lot sale offered property from the estates of Bernard “Bernie” Delia, Arthur Cotton Moore and other notable consignors. Items up for grabs included various furniture, paintings and sculpture, silver, decora-

tive arts, rugs, Asian objects and clocks. Leading the sale was a pair of Afra & Tobia Scarpa Soriana chairs which achieved $5,398. The lounge chairs, upholstered in medium brown plush fabric, dated to the late Twentieth Century and were in good overall condition. They previously belonged to architect Arthur Cotton Moore. Also from Moore’s collection

All 82 pieces of this Austrian silver flatware service were faceted, had flaring handles and were monogrammed with “M.F.” in block letters. The set was served for $1,525, landing it comfortably within its estimate ($1,2/1,800).

Hailing from the collection of architect Arthur Cotton Moore, this pair of Soriana lounge chairs in medium brown from Afra & Tobia Scarpa were manufactured in the late Twentieth Century and more than doubled their high estimate, selling for $5,398, the highest price of the sale ($1,5/2,000).

Uplifted by coral and leaf-and-shell rockery, this Nineteenth Century polychromed Majolica centerpiece was modeled after a lavender and white shell and measured 18 inches high by 11½ inches long. It swam to $1,524, a little more than six times its high estimate ($150/250).

was a Charles and Ray Eames lounge chair and ottoman made from rosewood and upholstered with black leather. The chair bore a brass plaque that read “Here Sat the King of Greece 17 February 1989.” Despite wear to the upholstery and replacement leather adorning the armrests, the two-piece set rocked to $3,429, just above its $3,000 high estimate. A chair identical to this one, minus the brass plaque, was also offered in this sale and crossed the block for $2,159.

Furniture continued to excel with a sofa from Le Corbusier, exceeding estimates to cross

the block for $2,159. The chromed metal and chocolate brown leather upholstered sofa, complete with a model number of “LC3,” was also from Moore’s collection; an identical couch, sold as a separate lot, also achieved the same price. Tableware and related items continued to be popular throughout the auction. An 82-piece service of Austrian silver flatware monogrammed “M.F.” was dished out for $1,651, landing comfortably within its $1,2/1,800 estimate. The flatware — which included pieces such as dinner forks and knives, fish and fruit knives, cocktail forks and spoons and teaspoons, among others — collectively weighed approximately 80 troy ounces and had faceted, flaring handles.

Skyrocketing past its $150/250

estimate was a Majolica polychromed centerpiece modeled after a lavender and white shell, which was supported by coral and leaf-and-shell rockery, which earned $1,524. The Nineteenth Century example measured 18 inches high and 11½ inches long and was in fair condition.

Leading the sale for paintings was a set of two early summer landscapes by Canadian-American painter Charles Paul Gruppe. Both oil on canvas works were signed in the lower right-hand corner and measured 12 by 13 inches framed. Estimated at just $600/800, the set of two surpassed expectations to earn $2,286.

Prices quoted include buyer’s premium as reported by the auction house. For additional information, 301-634-2330 or www.sloansandkenyon.com.

Auction Action In Chevy Chase, Md.

The second-highest price of the sale went to this Charles and Ray Eames lounge chair and ottoman in rosewood and black leather. Consigned from the Moore collection, the set stretched to $3,429 against a $2/3,000 estimate.

late

to earn a sunny

the

from the

and

with illuminated leaves; it grew to $2,794, far surpassing its $300/400 estimate.

This

Twentieth Century steel tree-form floor lamp

Moore collection was painted white

contained branches

Sold together, these two early summer landscapes by Charles Paul Gruppe (Canadian American, 1860-1940), oil on canvas, signed lower right, 12 by 13 inches framed each, shone past their $600/800 estimate

$2,286.

Sporting

model number “LC3,” this 70-inch-long chromed metal and chocolate brown upholstered sofa from Le Corbusier was from the Moore collection and realized $2,159 ($1/1,500).

“Little River From Rosslyn, 1912” by Max Weyl (American, 1837-1914), 1912, oil on canvas, 25½ by 31 inches framed, signed and dated lower right, sold for $1,778 ($1,5/2,500).

Review by

Kiersten Busch, Assistant Editor

Photos Courtesy Sloans & Kenyon

Historic Homes & Properties

Compiled by madelia HiCkman Ring

The Belden House and Tavern. When acquired in 1949 by the Antiquarian and Landmarks Society (now Connecticut Landmarks), the house was straight sided. Two layers of clapboard removed during restoration revealed the original overhang and evidence of diamond-paned windows.

porte

Preservation In Action: 10 Stories Of Stewardship

OLD WETHERSFIELD, CONN. — Old Wethersfield is the oldest and largest officially recognized historic and cultural district in the state, but until now, its story has not enjoyed the audience it deserves. With the publication of Preservation in Action, by Anne Kuckro, that will likely change.

The book, co-published by Wesleyan University Press and the Webb Deane Stevens Museum, was launched at a special celebration at the Webb Deane Stevens Museum on Sunday, September 22.

“The photographs and stories bring to life the unique traditions, architecture and community spirit of Wethersfield. We are honored to support the museum’s mission to celebrate the rich, diverse and robust legacy of the American spirit and its impact on Connecticut,” said Suzanna Tamminen, director and editor-in-chief at Wesleyan University Press.

Based on original research by Kuckro, with arresting photography by architectural photographer Peter Brown, the book demonstrates the community’s long effort to preserve the architectural legacy of its historic village, through individual and institutional commitments, civic planning and design review. Spanning over three centuries, the book highlights ten stories of “restoration, rehabilitation, renovation, adaptation and reuse.”

Examples include the oldest house in town, an early Seventeenth Century structure with an addition of the same vintage, a Nineteenth Century commercial building whose greenhouse was repurposed as a cafe in 2022, and the town’s old high school, redeveloped in a bold partnership between the Town and the Wethersfield Historical Society. Together with the Society’s stewardship of the Hurlbut Dunham House and other historic district properties, it’s resulted in considerable economic benefits for the town of Wethersfield.

“The number of visitors to Old Wethersfield has grown from a few hundred to thousands who also shop, dine and stop by everything the town has to offer,” said Gioia Zack, Economic Development director for the Town of Wethersfield. “There are over 30 small businesses located along the half mile stretch of Main Street in the heart of Old Wethersfield, including

five opening since the fall of 2023, with three more on the way, some in newly converted properties originating from 1787.”

Anne Crofoot Kuckro (1945–2010) was a historian and preservationist

The Silas Deane House’s front chamber is very unusual because it has no fireplace. There is evidence that it was heated by a stove, unlike any other room in town at that time. The floor’s continuous unbroken run of boards has some spring, which supports the suggestion it was suitable for dancing.

The Silas Deane House. The chamber over the kitchen, whose chimney contains a smoke oven, is interpreted as the space where Hager and Pompeii, enslaved African Americans, lived and worked.

whose books include Hartford Architecture, Volume One: Downtown (1978) Captain James Francis, Master Builder: Brick Architecture in Wethersfield before 1840 (1974); and Wethersfield: A Tour of Houses and History (1984).

Peter R. Brown is an award-winning architectural and fine art photographer, based in Connecticut, whose career has included capturing iconic images across the country’s Northeast Region.

The chamber of the George Hubbard house in which the great beam and joists are chamfered.

The dining room at the Dr Daniel Hooker House was the house’s original kitchen. The cooking fireplace was removed in the early Twentieth Century.

Sara C. Bronin, past chair, Preservation Connecticut, observed, “Anne Kuckro invites us to appreciate both the architectural details that distinguish a fascinating collection of buildings in Old Wethersfield and the broader stories behind their preservation. As beautifully illustrated by photographer Peter Brown, her inspiring book reveals the rewarding legacy left by people committed to investing in place.”

Lee Kuckro, the late author’s husband, will share insights at the book launch on the development of the book, decades in the making, and only possible with the involvement of enthusiastic contributors, property owners and Wethersfield community leaders. Kuckro served on the Wethersfield Historic District Commission for 20 years, including 14 as chairman. He is a past president of the Wethersfield Historical Society, Preservation Connecticut and Connecticut Landmarks. And, also a founder and past president of The Hartford Preservation Alliance.

“Without Anne and Lee Kuckro, the preservation community in Old Wethersfield would not look as it does today,” said Brenton Grom, Webb Deane Stevens Museum executive director. “Through a half-century of board and committee membership and tireless work behind the scenes, they are the common thread connecting several entities for stewarding the town’s history.”

Publication of the book is funded by the Beatrice Fox Auerbach Fund at the Hartford Foundation for Public Giving, and with generous support from The CT State Historic Preservation Office, the National Park Service, the Town of Wethersfield and the Wethersfield Beautification Trust.

Preservation in Action: Ten Stories of Stewardship, Restoration, Rehabi litation, Renovation, Adaptation, and Reuse by Anne Crofoot Kuckro; photographs by Peter R. Brown; foreword by Lee Kuckro. Published by the Webb Deane Stevens Museum in association with Wesleyan University Press, September 3, 2024, 216 pp, 102 color photos, paperback, $30.

The

cochère of the Silas W. Robbins House is now a porch.

McNay Art Museum Takes A Trip With The Ballets Russes

Costume design for Prince Charming in Scene III of The

SAN ANTONIO, TEXAS —

The McNay Art Museum turns to its esteemed Tobin Collection of Theatre Arts to recontextualize an early Twentieth Century ballet

company in “Women Artists of the Ballets Russes : Designing the Legacy,” on view through January 12. Original costumes, set and costume designs and archival photo-

tion of the McNay Art Museum, Gift of Robert L. B. Tobin, TL1998.235. ©Artists Rights Society (ARS), New York/ ADAGP, Paris.

graphs chronicle the dance company’s history and shine the spotlight on the oftenoverlooked creative contributions and legacies of artists Natalia Gontcharova, Sonia Delaunay and Alexandra Exter and dancer and choreographer Bronislava Nijinska. The McNay pairs its holdings with costumes, designs and ephemera on loan from other institutions, offering deeper insight into the objects on view and the women artists who created them. The exhibition also reunites several designs with their realized costumes and set pieces for the first time in nearly a century.

“While the genesis and impact of Serge Diaghilev’s Ballets Russes (1909-1929) is well known, the incredible women who worked with this company on and off stage have often been overlooked,” said Caroline Hamilton, PhD, Ballets Russes costume and dance historian and exhibition co-curator. “This exhibition aims to celebrate and give voice to these female artists including designers, dancers, costume makers and financial patrons who worked

with the Ballets Russes and contributed to its legacy.”

The McNay’s exhibition focuses on the legacy that the famed dance company and these women had on ballet in the US, highlighting dancers of color who found historic opportunities with the companies that emerged in the wake of the Ballets Russes. Personal ephemera mark their historic accomplishments in light of the contemporary issues of representation on stage. Among these women are ballerinas Sono Osato and Raven Wilkinson, the first Asian American and the first African American to dance with a major company respectively, and Maria Tallchief who was taught by Nijinska and would become the first Native American prima ballerina.

“Preparing this exhibition has been a three-year process during which the Tobin Collection of Theatre Arts has taken on new dimension,” said R Scott Blackshire, PhD, curator of the Tobin Collection of Theatre Arts. “The late Robert Tobin was particularly proud of the Ballets Russes treasures he acquired, and he often exhibited them in inventive ways. If Robert Tobin were here today, I believe our focus on the women artists of the Ballets Russes is an exhibition thesis that he would applaud as visually fascinating and socially significant.”

The McNay Art Museum is at 6000 North New Braunfels Avenue. For additional information, 210-824-5368 or www.mcnayart.org.

City of Shemakha in Le Coq d’Or (The Golden Cockerel) by Natalia Gontcharova, circa 1922, oil on canvas. Collection of the McNay Art Museum, Gift of Robert L.B. Tobin, TL1998.168. ©Artists Rights Society (ARS), New York/ADAGP, Paris.

Design for frontispiece of The Russian Ballet in Western Europe, 1909-1920 by Natalia Gontcharova (Russian, 1881-1962), circa 1921, ink, watercolor and graphite on paper. Collec-

Scene design for Holy Etudes by Alexandra Exter (French, born Russia (now Poland), 1925, gouache and metallic paint on paper. Collection of the McNay Art Museum, Gift of The Tobin Endowment. TL2001.64.

Curtain design for the prologue in Le Coq d’Or ( The Golden Cockerel ) by Natalia Gontcharova (Russian, 1881-1962), 1913, watercolor and collage on paper. Collection of the McNay Art Museum, Gift of The Tobin Theatre Arts fund. TL2008.9. ©Artists Rights Society (ARS), New York/ ADAGP, Paris.

Scene design for a ballet by Alexandra Exter French, (born Russia (now Poland), 18821949), circa 1925- circa 1928, oil on panel. Gift of The Tobin Endowment. TL2001.66.

Design for Cléopâtre and her attendants in Cléopâtre (Cleopatra) by Sonia Delaunay (French, born Russia (now Ukraine), 1885-1979), circa 1918, watercolor and graphite on paper. Gift of The Tobin Endowment. TL2001.50.

Costume design for Apostle Mark in Liturgie by Natalia Gontcharova (Russian, 18811962), 1915, Pochoir. Gift of Robert L.B. Tobin. TL1998.187.

Sleeping Princess (La Belle au Bois Dormant) by Léon Bakst (Russian, 1866-1924), 1921, watercolor, gouache, metallic paint and graphite on paper. Gift of Robert L. B. Tobin. TL1998.66.

Peg & Lloyd Braford

— Wooten & Wooten To Offer Antiques Dealers’ Collection

CAMDEN, S.C. — Wooten & Wooten will present its October 19 catalog auction, featuring the collection of noted decorative arts dealer Peg Braford of Natural Bridge, Va. Born in 1924, Braford established her distinguished gallery “Antiques by Braford” with her husband Lloyd, with whom she traveled the world and developed her love of antiques. “Mrs Braford’s keen eye for antiques is evident in the scope and quality of the items offered in our upcoming sale,” said owner and auctioneer Jeremy Wooten. “She was such a kind woman, and we are honored to be working with her family to present these works at auction.”

Among the standout lots from the Braford collection are an Italian inlaid cabinet attributed to Ferdinando Pogliani (1832-1899). Pogliani was a soughtafter cabinetmaker in Malin in the Nineteenth Century, winning several Exhibitions for his intri-

cately decorated work, as evidenced in this cabinet brilliantly inlaid with a mix of stones, including lapis, carnelian, marble and quartz. “Also included is one of Mrs Braford’s prized possessions,” added Wooten, “the Walter Biggs’ oil “Mamba’s Daughters II’ held a very special place in her home.” Biggs (18861968) issued the work in relation to the DuBoise Heyward novel, publishing it in Ladies Home Companion in 1928. The exceptionally rendered example depicts a young woman under the live oaks of Charleston, S.C. Braford’s collection includes hundreds of other lots of fine objects including garden statuary and Asian antiques.

Additional highlights in the October 19 auction include a Tennessee cherry and poplar hunt board, circa 1820, as well as a large collection of early Twentieth Century hand carved and painted decoys and

sporting art from an Eastern Shore of Maryland private collection. The sale also features items from collections in South Carolina and Georgia and includes a strong and diverse variety of sterling silver, carpets, furniture and art, along with European and Continental decorative arts.

Preview will begin Wednesday, October 16, and continue through Friday, October 18, from noon until 5 pm each day in the firm’s gallery at 818 Broad Street. The sale will begin promptly at 10 am EST Saturday, October 19, and will offer in-house, absentee and phone bidding, as well Internet bidding via LiveAuctioneers and Invaluable.

To secure a phone line for bidding, place an absentee bid or should you need assistance registering online, please contact the gallery at info@wootenandwooten. com or 866-570-0144.

N-YHS Acquires Stonehill NYC Postcard Collection

NEW YORK CITY —The New-York Historical Society has announced the acquisition of a remarkable and comprehensive collection of 32,000 New York City postcards. The Bob Stonehill Collection of New York City postcards, which was assembled over a period of 40 years, features close-ups and vistas of the city’s architecture, neighborhoods, lifestyle, cultural history, landmarks, daily life and points of interest from across all five boroughs. The oldest postcards date to the 1890s, while the majority are from the first-half of the Twentieth Century, with examples stretching into the remainder of the century.

The acquisition of the Bob Stonehill Collection, the foremost collection of historic postcards encompassing the full geographical span of New York City, was made possible by the generosity of Helene Stonehill, Bob’s widow, and Leonard A. Lauder.

“The Bob Stonehill Collection is truly unique as an archive, offering views of New York City as they have evolved over the decades and others that no longer exist,” said Louise Mirrer, president and CEO, NewYork Historical Society. “We are extremely grateful to

Helene Stonehill for entrusting us with her husband’s legacy and to Leonard Lauder for his support in making this gift possible.”

“Late in my dear Bob’s life, we often discussed what would become of his remarkable collection of New York City postcards,” said Helene Stonehill.

“We concluded that the NewYork Historical Society would be the finest permanent home for these cards. I know Bob would be thrilled to see the collection kept together for all to benefit from, in the place of our dreams.”

“It takes dedication, knowledge and generosity to build a collection, and Bob Stonehill’s is extraordinary,” said Leonard A. Lauder. “It’s an honor to have played a role in ensuring that it remains intact and accessible to researchers, the public and everyone who loves New York City as much as Bob did.”

The Stonehill Collection is organized by boroughs and by neighborhoods, providing a sense of daily life across New York’s diverse communities. Examples of the many neighborhoods depicted include Riverdale, Hunts Point, City Island, Washington Heights, Chinatown, Bay Ridge, Brownsville, Ridgewood, Breezy Point, Richmond Hills, Jamaica, For-

R.F. Turnbull, New York. Brooklyn Bridge postcard issued by H. Hagemeister Co., circa 1901-07. New-York Historical Society, Bob Stonehill Collection of New York City Postcards. Partial Gift of Helene Stonehill. Partial Purchase with funds provided by Leonard A. Lauder.

est Hills, St George, Snug Harbor and Tottenville.

Other postcards in the collection showcase the numerous ways in which New York City, its attractions, its cultural life, marquee events and amusements were advertised and memorialized. Theaters, restaurants, hotels, parades and transportation means like elevated trains and subway lines are featured. Also highlighted are famous attractions like Coney Island and the Rocka-

ways, alongside lesser-known spots like the Golden City Amusement Park in Canarsie, Brooklyn and the North Beach Amusement Park, which was located on the present-day site of LaGuardia Airport.

Some of the rarest cards in the collection depict historical sports venues, like the American League Ball Park, home to the original Yankee team that transferred from Baltimore in 1903 and now the site of the Columbia-Presbyterian Hospi-

tal complex in Upper Manhattan. Other sports-related postcards feature the Polo Grounds also in Upper Manhattan, Ebbets Field in Flatbush, Brooklyn and the original Yankee Stadium, built in the Bronx in 1923.

The collection encompasses Real Photo Postcards (RPPCs), linens, chromes, signed artist cards, sets and series, handcolored cards, error cards, composites, mechanicals and novelties, among others. A number of the cards include annotations as to location and activity.

The collection was established in 1980, when Mr Stonehill began collecting postcards depicting historical views of neighborhoods in Queens — his native borough. He later expanded to include postcards highlighting every community within the five boroughs of New York City. Stonehill grew up in Sunnyside, worked in the clothing industry and was a longtime member of the Metropolitan Postcard Club of New York City. After his death in 2022, the club renamed its annual album competition in his honor.

The New-York Historical Society is at 170 Central Park West. For information, 212-873-3400 or www.nyhistory.org.

Sculpture of Mercury after Giambologna, Nineteenth Century.

Painting by Walter Biggs.

The collection includes garden statuary.

Asian Art, Fine Art, Jewelry & More At Michaan’s

September Gallery Auction

A jewelry suite with rubies and 18K yellow gold made $5,985.

ALAMEDA, CALIF. —

Michaan’s Auctions’ monthly Gallery Auction has once again wrapped up, with final lots selling just after 3:30 pm on Friday, September 20. This month, Michaan’s had plenty of exciting lots to brag about, most notably a Chinese Imperial dragon robe from the Asian Art department, three animation cels from Walt Disney Studios’ Little Mermaid and Who Framed Roger Rabbit? in our Fine Art department, a large collection of fine watches and an interesting Gold Rush medallion in our Jewelry Department. There were also plenty of lots from furniture and decorations, stamps, coins, ephemera and silver and objets de vertu departments.

Michaan’s Asian art department offered what can only be described as the shining star of the September Gallery Auction, a Chinese Imperial dragon robe that sold for $16,380. This robe was made of apricot-ground silk and intricately embroidered with six five-clawed dragons depicted in pursuit of embroidered flaming pearls. The robe’s embroidery also features the “Twelve Symbols of Imperial Authority,” which includes imagery of the sun, moon, mountains and fire. A Chinese bronze bell from Bozhong proved to be a pleasant surprise, selling for $5,040. This amount far exceeded the lot’s projected hammer price, due to heated bidding and the bell’s attribution to a collection from the Hunan Museum in China. Two Chinese red-ground silk embroidered pan-

Name of Publication: Antiques and The Arts Weekly, Publication Number: 988-580, published weekly on Friday at 5 Church Hill Road, Newtown, CT 06470. 52 issues published annually. Annual subscription price in state is $96. Full names and complete mailing addresses of Publisher, Editor and Managing Editor are: Co-Publishers Helen W. Smith and Sherri Smith Baggett, The Bee Publishing Company, Inc., 5 Church Hill Road, Newtown, CT 06470; Editor, Madelia Ring, The Bee Publishing Company, Inc., 5 Church Hill Road, Newtown, CT 06470.

The owner is: The Bee Publishing Co., Inc. 5 Church Hill Road,

This Chinese bronze bell, Bozhong, China, hit the right note at $5,040.

This 24K yellow gold neck chain dazzled at $7,560.

Auction Action In Alameda, Calif.

els sold together for $1,638, a number that also exceeded its estimate. These panels were finely embroidered with scenes of children at play and include fine imagery of dragons, peaches, flowers, and butterflies. All are things we’d expect to find in a serene garden. A monumental Chinese carved and lacquered seated Bodhisattva statue on a wooden table sold for $2,016 and, for the same price to round out Asian highlights, a Japanese

zushi or traveling shrine.

Michaan’s fine art department had many interesting and historic lots on offer this month. To start were three animation cels from the Walt Disney Studios films Who Framed Roger Rabbit? and The Little Mermaid. The first cel on offer, Ariel and Sebastian from the 1989 film The Little Mermaid, sold for $2,268 while a cel showing Ariel alone sold for $2,016. The piece from the making of Who Framed Roger Rabbit?

sold for $1,512. These pieces of film history came from the same consignor, who may have been either a film memorabilia collector or an animator in the 1980s. Another interesting piece, Mark Kostabi’s 1990 “I Talk to the Devil Also,” sold for $2,835. This oil on canvas painting captures the eye and does not let go — one could stare at it for hours trying to make sense of both the image itself and technique that Kostabi employed to achieve a soft, blurred portrait. Maginel Wright Barney’s “Two Girls Knitting,” a watercolor and gouache painting, just slightly exceeded its estimated value and sold for $1,386. A beautiful watercolor painting depicting orange flowers, “Nasturtium,” by Chiura Obata sold for $2,142, while Leon Lundmark’s “Seascape” achieved $1,386.

The jewelry and timepieces department was entrusted with the consignment of many fine watches this month, including one consignor’s vast collection. At the top, an Omega Constellation 18K yellow gold wristwatch sold for $4,410. Next, a Tourneau automatic Moonphase 18K white gold and leather wristwatch that earned $3,150 and a Chopard “Mille Miglia” Chronograph stainless steel wristwatch that brought $2,016. The department also saw the exciting sale of an 18K yellow gold presentation medallion; the piece of California

Statement Of Ownership, Management And Circulation

Newtown, CT 06470, of which one percent or more of total amount of stock is owned Helen W. Smith, 5 Church Hill Road, Newtown, CT 06470; Sherri S. Baggett, 5 Church Hill Road, Newtown, CT 06470. Known bondholders, mortgagees, and other security holders owning or holding one percent or more of total amount of bonds, mortgages, or other securities. If none, so state: none.

The tax status has not changed during the preceding 12 (twelve) months.

The average number of copies each issue during the preceding 12 months, 5,200; Mailed Outside County Paid Subscriptions Stated on PS Form 3541, 3,881;

Mailed In-County Paid Subscriptions Stated on PS Form 3541, 169; Paid Distribution Outside the Mails Including Sales Through Dealers and Carriers, Street Vendors, Counter Sales and Other Paid Distribution Outside the USPS, 318; Paid Distribution by Other Classes of Mail Through the USPS, 52. Total Paid Distribution 4,420. Free or Nominal Rate Outside-County Copies included on PS Form 3541, 36; Free or Nominal Rate In-County Copies Included on PS Form 3541, 42; Free or Nominal Rate Copies Mailed at Other Classes Through the USPS, 49; Free or Nominal Rate Distribution Outside the Mail, 247. Total Free or

Nominal Rate Distribution, 374; Total Distribution 4,794; Copies not Distributed, 406; Total 5,200. Percent paid, 92.2%.

The number of copies of singleissue October 11, 2024 published nearest the filing date: 5,200; Mailed Outside-County Paid Subscriptions Stated on PS Form 3541, 3,897; Mailed In-County Paid Subscriptions Stated on PS Form 3541, 197; Paid Distribution Outside the Mails including Sales Through Dealers and Carriers, Street Vendors, Counter Sales and Other Paid Distribution Outside USPS, 188; Paid Distribution by Other Classes of Mail Through the USPS, 54; Total Paid Distribution, 4,336. Free or

Gold Rush history, it went for $3,780. Inscribed with “Eureka,” the 1850 medallion featured a gold nugget. Finally, a beautiful ruby and 18K yellow gold jewelry suite traded hands at $5,985. The furniture and decorations department had its fair share of interesting pieces as well. A pair of Moorish style inlaid stools sold for $1,512, just above the estimated high value. A Neoclassical style bronze bust of Mercury racked up many bids, eventually coming out to $1,638. Mercury (“Hermes” in Greek) is said to have ruled over wealth and good fortune, making this bust a very worthy purchase. The Gibson Skylark Lap steel guitar sold for $1,197, and a bottle of old 1970s Old Weller 107-proof Seven-Year Kentucky Straight Bourbon Whiskey sold for $1,386. Finally, an anticipated Audel Davis arts and crafts style hammered copper table lamp sold for $1,260. This was over the estimated value, but not surprising, as the lot had had quite a bit of interest in the days leading up to the auction.

Michaan’s October Gallery Auction is scheduled for 10 am, PDT Friday, October 18; previews will take place October 13, 17 and 18. Prices quoted include the buyer’s premium as reported by the auction house.

Michaan’s is at 2701 Monarch Street. For information, 510-7400220 or www.michaans.com.

Nominal Rate Outside-County Copies included on PS Form 3541, 34; Free or Nominal Rate In-County Copies Included on PS Form 3541, 39; Free or Nominal Rate Copies Mailed at Other Classes Through the USPS, 49; Free or Nominal Rate Distribution Outside the Mail, 310. Total Free or Nominal Rate Distribution, 432; Total Distribution, 4,768; Copies not Distributed, 432; Total, 5,200. Percent paid, 91.4%.

I certify that the statements made by me above are correct and complete.

Sherri S. Baggett Business Manager September 27, 2024

Chinese Imperial Dragon Robe was sewed up for $16,380.

Wednesday, October 16th at 10:00am

Preview Monday October 14th & Tuesday October 15th 10:00am to 4:00pm daily, and the morning of the auction beginning at 8:30am Featuring the Estates of Henry Page of Gilmanton NH, Jerilee Cain of Worthington MA, and many others... 18th C. Furniture, Early Folk Art, 18th & 19th C. Tall Clocks, Early Lighting, Extraordinary Early Steiff and other Toy Collections, plus much more.

Antique Steiff, Marklin, Dayton and others

Antique Steiff, Marklin, Dayton and others

Ca. 1820 Bow Front Chest

Ca. 1800 NJ Cherry Tall Clock

Over 30 Artworks by Louis Doyle Norton Ca. 1810 NH Tiger Maple Stand

Early 19th C. Noah Ranlet Tall Clock

Ca. 1765 NH Maple Highboy

Antique Steiff, Marklin, Dayton and others

Antique Steiff, Marklin, Dayton and others

Antique Steiff, Marklin, Dayton and others

Antique Steiff, Marklin, Dayton and others

Antique Steiff, Marklin, Dayton and others

Antique Steiff, Marklin, Dayton and others

Albert W. Davies, Winter Scene

Antique Steiff, Marklin, Dayton and others

Early 19th C. Painted Harvest Table

Ca. 1800 Red Painted Maple Bowl

Late 18th C. Windsor Armchair

Antique Painted Floor Shelves

Antique Northern Woodlands Baskets Late 18th C. MA Mahogany Sideboard18th C. Queen Anne Wing Chair

Late 18th C. Georgian Wine Cooler

19th C. Folk Art Carved Cat

Antique Steiff, Marklin, Dayton and others

Lorentz Kleiser Oil on Board

Antique Firkin, Likely Shaker

Collection of Early Lighting

Ca. 1900 Hunting Dog Antique Steiff, Marklin, Dayton and others

Antique Reed & Barton Sterling Silver

Tiffany & Co. Brass Ship’s Mantle Clock

Sunday, October 20 th at 11

a.m. Boston/seymour

also shown: part of a large collection of 19th c. scrimshaw

previews at the crn gallery: friday, october 18 from 10 a.m. to 5 p.m. saturday, october 19 from 10 a.m. to 3p.m. also by appointment - limited preview morning of sale

a merican folk a rt, c. 1843 of charles franklin carter worcester, ma untouched condition o/c; 27 by 22 in

r are Boston/seymour pembroke table c. 1785-1793 29”h; 31”w

18th c Boston silver JacoB hurd tankard and porringer Paul r evere table spoons

Ernest E. Morenon (france/boston, 1904-2003) featuring works from the estate/stu dio of

a merican folk a rt oils on Panel captain and grace doty, c. 1840 h atchvillle, ma (cape cod) 14 by 10 in

a Private collection of mochaware (partiallY shown)

morenon was awarded a gold medal for his massive carved oak panels porte de alma at the entrance of the 1937 paris international exposition in 1943 morenon emigrated from marseille to boston to become head of the boston museum of fine arts sculpture department from 1955 to 1965.

new york chippendale m ahogany secretary/desk c.1750-760

8’6”tall; case 44”w descended through the coolidge family of boston

newPort chippendale san domingo m ahogany tea table, c 1730-70 israell sack provenance

morenon’s eterno ConFliCtto welded steel and gilt 45” h andre kertesz (hungary/america, 1894-1985) satiriC danCer 1926 below: Berenice a BBott (a merican, 1898-1991) Queensboro bridge , new York gelatin silver print photographs

morenon’s many ecclesiatical sculptures incl thepieta inthe national cathedral, washington d c and stonereliefsinthecathedralof mary our queen, baltimore, md

new england painted trunk original paint 14”h; 32”w

leFt: morenon’s the ConduCtor welded steel and enamel, 84”

morenon’s the Future georgian marble, 48” exhibited at the boston museum of fine arts in 1977

m aurice greifenhagen, ra (1862-1931) dated 1884; oil on canvas; 32 by 26 in

english antiques

mid-century modern and 20th c.

louis feron (french /a merican, 1901-1998) gold, agate and bronZe, 7”h; 11”w davis a llen steel mesh, 1958

roBert r auschenBerg (a merican, 1925-2008) screen print dated 1973 35 by 24 in

gene moore tiffany sterling, 8” (1) oF (6) CirCus lots

a nne Packard, b. 1933

assachusetts/new Jersey o/b; 8 by 10 in r alPh cahoon (a merican, 1910-1982) o/c; 18 by 23.5 in

a ntonio JacoBsen (a merican, 1850-1921) oceanliner horatio hall , dated 1899 brooklyn bridge from hoboken, nJ; 22 by 36 in

19th c. italian pietra dura, specimen and m arble table top, 28”diam large

Jerome howes (a merican, b. 1955) o/c; 28 by 40 in

14k gold lariat necklace, 208 grams (other JewelrY to be sold)

m argaret tafoya native a merican puleblo santa clara blackware pottery, 18.5”h

EVERYTHING FRENCH • Sunday, October 20th at 5:00pm

Live Auctioneers and Invaluable • Preview by appointment only • Wednesday–Sundays 11am–4pm • No preview Day of Sale

French art has profoundly shaped the global art landscape, continually pushing the boundaries of creativity and expression. From the elegance of Rococo and the intellectual rigor of Neoclassicism to the emotive power of Romanticism and the revolutionary techniques of Impressionism and Cubism, French artists have consistently redefined art’s potential. Movements born in France didn’t just capture the beauty of the world— they questioned it, transformed it, and inspired future generations to do the same, challenging artists and audiences alike to see the world in new, thought-provoking ways.

This auction features an impressive collection of over 30 clocks, spanning styles and periods from the 18th to the mid-20th century. The diverse assortment includes clocks from notable eras such as Portico, French Empire, and Napoleon III, crafted from materials like bronze, rosewood, and gilt bronze, with embellishments from inlaid designs to enamel figural decorations. Highlights include elegant Louis XV and Rococo pieces, alongside distinctive Art Deco clocks.

artistic depth of Muller Freres Multi-Layer Cameo Table Lamp. These pieces feature materials like alabaster, etched glass, Murano glass, carved wood, and chrome plating.

The art glass/crystal collection showcases pieces from Baccarat, Daum Nancy, and Lalique from the 19th and 20th centuries. Highlights include a Baccarat Signed Tall Decorated Cattails Pattern Vase, circa 1900, and a pair of Legras Art Glass and Bronze Landscape Motif Vases. Other notable items include a Daum Nancy Acid Cut Back Art Deco Glass Vase and a signed Lalique Cobalt Star Janina Mirror Frame, with stunning crystal decanters, pitchers, and bowls featuring intricate etched and cut designs.

Over 120 pieces of art are included, featuring artists like Salvador Dali, Pablo Picasso, Charles Dufresne, and Georges Braque among others. The collection spans paintings, drawings, watercolors, gouaches, lithographs, and mixed media, offering a rich panorama of artistic expression.

The furniture collection, ranging from the 19th to the late 20th century, includes pieces by notable designers like Galle, Gabriel Viardot, and Phillippe Starck. Styles such as Art Nouveau, Art Deco, Japonisme, and Chinoiserie reflect the classic luxury of Baroque, Louis XVI, and Napoleon styles. Craftsmanship is showcased through diverse materials and techniques such as inlay, marquetry, lacquer, wrought iron, and etched glass.

Our curated selection of lighting includes pieces from prominent eras like Mid-Century Modern to Louis XIV. Highlights include a Galle Art Nouveau Acid Etched Butterfly Lamp, Giovanni Dall Fina’s sleek White Cylinder Murano Glass Floor Lamp, an Egyptian Revival Floor Lamp by Atelier Rene Schmitt, and the

Rock-Ola Bubbler Peacock Jukebox

Unusual Theodore Alexander Dressing Chest 45: Carved Marble Bust of a Young Man 44: Chinese Glazed Terracotta Figure 432: Chinese Carved Jade Figure of Quan Yin

390: Ivan Aivazovsky, Brig at Dawn, 1890, Oil on Panel $3,000 - $5,000

380: Porcelain KPM Plaque After D.H. Morillo by A. Blattner $2,500 - $3,500

72: Art Deco Paint Decorated Side Tables

34: Pair of French Porcelain Chinese Figures

31: Chinese Carved Center Table

33: Large Chinese Carved Center Table - Console

312: Tiffany 14K Gold Pocket Knife

307: Pair of 14K Gold, Sapphire and Ruby Cufflinks

306: Pair of Antique Enamel, Diamond, Gem-Set Cufflinks

304: 18K Gold, Red & Colorless Simulated Stone Necklace

370: Pair of English Flintlock Dueling Pistols, Clark, England $2,000 - $3,000

70: Louis XV Style Iron and Marble Console

371: Shu TANAKA Idylle Safran - Oil Painting

32: Pair of Chinese Cloisonne Flare Vases

301: Armand V Carnevale 18K Gold and Simulated Gemstone Bracelet $20,000-30,000

101: Harry ROSEMAN Wooden DeerMixed Media

SUNDAY OCTOBER 6 | 10 am est

In House Previews: Thursday, October 3 - Saturday, October 5 | 12–6pm EST Internet Bidding: Invaluable & Liveauctioneers | Phone & Absentee Bidding Are Welcome!

Warren Platner / Knoll Chairs

WILLIAM BRADFORD

Victorian Renaissance Revival Cabinet

Rosewood Dressers

Rolex Red Submariner 1680

ROBERT PEARSON

Paul Sormani Louis XV Style Marbletop Commode

Louis XVI Commode

LEMUEL MAYNARD WILES

LE PHO

Japanese Edo Buddha

HEINIE HARTWIG

GIA Natural Colombian Emerald Ring

FELIPE CASTANEDA

Chippendale Reverse Serpentine Chest

Chinese Embroidered Dragon Robe

Black Forest Clock

Antique Carved Wood Mirror After PAAVO TYNEL Midcentury Chandelier

ALFRED BRYANT COPELAND

The Dr. Roger Knutsen Collection of Rapid City, SD

Thurs. October 17th at 4pm

Doors will open at 2pm for viewing – no earlier please to allow for set-up Located at: Comfort Suites, 1333 North Elk Vale Road, Rapid City, SD East Edge of Rapid City, just off I-29

Dr. Knutsen has collected high-quality antiques since the 1970’s! He has a strong focus on items related to South Dakota and the colorful history of the Black Hills area! Highlights include:

• 1927 Telegraph sent to Gutzon Borglum from his mother, congratulating him on starting Mt. Rushmore! • Poker Alice’s Silver Chalace! • Signed Document by Seth Bullock! • Dozens of framed photos, pictures, postcards & maps of early South Dakota places, people & events including Mt. Rushmore, Days of ’76 Rodeo, Homestake Gold Mine, Sylvan Lake, The State Game Lodge, Deadwood, Indian Pete Cumberlain, Deadwood Dick, Annie Talent, & more • Native American Art & Artifacts including beadwork, arrowheads & photography • Super pieces of original Advertising Signs, Posters, Clocks, & Displays! Including Pre-Prohibition & Hamm’s beer signs! • Original Confederate Virginia Infantry Flag • Original Concert Posters including 1956 Elvis and 1960’s Psychedelic Art! • Original Political Posters, Signs, Pinbacks & Ephemera • High-Quality Antiques – 1832 Needlepoint Sampler, several fantastic clocks & lamps, cast iron toys, unique cans, bronze dogs, Opium Pipes, brass door knockers & more • 2 Vintage Notre Dame team signed footballs!

400 Cataloged lots on this auction – Quality from start to finish!

Note: From Seth Bullock to Poker Alice, Gutzom Borglum to President Coolidge, Cowboys to Native Americans, this auction has it all! It has been decades since an auction of this quality & historical significance has been offered in South Dakota. Dr. Knutsen had the contacts, knowledge and ability to buy the best and the rarest pieces from top auction houses & antique dealers nationwide! If you love true antiques, this is an auction you won’t want to miss! Funds from this auction are being donated to local & regional charities.

Live Auction with Live, Online bidding available through www.GirardBid.com!

October Estates Auction

October 19th & 20th, Saturday & Sunday, 11:00 AM 117 Ellio St., Beverly, MA 01915

We have been commissioned to sell great collections and estates from San Diego, California, Montecito, California, Sea le, Washington, Palm Beach, Florida, York, Maine, Gloucester, Marblehead, Hyannis Port, Peabody, Nahant, and Essex, Massachuse s. Auction to be held at the Kaminski Gallery, 117 Ellio St., Beverly, Massachuse s.

Preview: Monday-Sunday, October 14th-20th, 9:00 AM-5:00 PM.

T. Wesselmann lithograph

Rembrandt etching

R. Swain acrylic

R. Motherwell lithograph

R. Lichtenstien silkscreen

R. B. Farley oil

Peter Max Harley Davidson motorcycle

P. C. Stojanow oil

P. Bacon etching

M. Lewis etching

M. Brooker pastel

L. E. Fisher egg tempera

J. de Stella oil

J. Stanczak acrylic

G. Brockhurst etching

E. Potthast oil

D. Diao oil

A.F. P. Gay oil

A. Wierusz-Kowalski oil

gold twist bracelet by

Elgin,

foreman’s watch,

Decorative accessories featuring 30+ lots of silver, 13 lots of coins, 25+ lots of Jewelry including one carat Platinum and Diamond ring, 9 lots of Swarovski crystal figures, Meissen, Daum crystal, 5 lots of art glass paperweights, 15 lots of Chinese porcelain, bronzes, 15+ lots of decorative lighting, Waterford, two copper Sergio Bustamonte pieces, Raynaud Limoges dinnerware, and more! Carpets and Rugs to include 20+ lots featuring Oriental

and

500 lot Sale to include Fine Art and Works on Paper: featuring Arthur Polonsky, David Burliuk, John Stobart, J. Pall, Joe Anna Arnett, Matteo Olivero, Elicit Mondeo Clark, and more!

Furnishing featuring: Five Thomas Shackleton lots, Jonathan Charles, Margolis, Stickley, Marley, Maitland Smith, D.R. Dimes, Ethan Allen, Restoration Hardware, along with period furnishings to include Louis XV, George III, George IV, Victorian, French Empire, and more!

room size Kashan’s, Bokara, Aubusson, Karastan,

more!

Matteo Olivero Oil on Board 10” x 13”

1 of 13 Coin lots

Raynaud Limoges Porcelain

Attributed to George Smith

Joe Anna Arnett Oil on Canvas 26” x 22”

Restoration Hardware Chesterfield, 1 of 2

Thomas Shackleton, Retails for 16K

19th Century 1 of 15 Chinese lots

Swarovski, 1 of 7 lots

Meissen, 1 of 3 lots

Louis Johan Hendrik Meijer Oil on Canvas 11” x 16”

One Carat Platinum and Diamond

Thomas Shackleton, Cherry

French Ormolu, Part of lighting penthouse

John Stobart, 1 of 8

Randall Powers Huntington Part of light collection from NYC penthouse

Edwardian, Formerly owned by Keith Richards of the Rolling Stones

Stickley, 1 of Several

Ht: 19”

Antiques, Stunning Fine Art, and Exquisite Jewelry. Included will be items Vintage Parlor Lamps; Huge Collection Victorian Art Glass inc. Coralene & Mary Gregory; Lalique & Murano Glass; Huge Map Collection; Over 20 Stained Glass Windows; Polyphon Wall Mount Coinop Disk Music Box; Vintage Lamps & Lighting; Early English Sterling; Tiffany & Co. Reticulated Sterling Raspberry Basket; Theodore Alexander Furnishings; Unusual Chandeliers; 3 Pc. Chinese Sang De Boeuf Porcelain Vases; Jay Strongwater; Theodore Alexander Furnishings & Vanucci GT Rosewood Desk; Polish Ludwikow Calvary Sword; Large Persian Tabriz Estate Oriental Carpets; Taxidermy Mounts, Wild Boar, Coyotes, Wildebeest etc.; MCM: MCM Mirror Back Glass Curios; ESTATE JEWELRY THAT MUST BE SOLD: 18K Gold Ladies Omega Constellation; 18k Patek Phillipe Calatrava Automatic Wristwatch; Over

50 Lots in this vast Assortment of Estate Gold Diamond & Gemstone Jewelry to include Alwand Vahan Sterling Gold & Diamond Jewelry; $130,000 18k Gold Ruby and Sapphire Bracelet with 1347 round mixed cut rubies (approx. 113.60 Ct.), 268 round mixed cut pink sapphires (approx. 21.44 Ct.) and 257 round brilliant cut diamonds (approx. 28.71 Ct.) & more.

ESTATE FRESH ARTWORKS: 100+ paintings, drawings, prints and sculpture featuring: Yaacov AGAM; Hilda ALTSCHULE; Claude BATON; Louis Frederick BENEKER; Henry BENSON; Edward BRODNEY; Romero BRITTO; Marc CHAGALL; Alexander CHEN; Michael CHEVAL; Nicola CILETTI; Dorthea COMFORT; Arthur COPPEDGE; Mary CORGLIN; Xavier CUGAT; Salvador DALI; Chris DERUBEIS; John DINAN; Eric DOWDLE; DUAIV; Don EMERY; David ERICSON; ERTE; Rene GALANT; Michael GODARD; Maya GREEN; Patrick GUYTON; William HENRY; F.S. HERRMANN; William HOLM; Wallace HUGHES; Slava ILYAYEV; Scott JACOBS; Dorothy Dolph JENSEN; Mark KANOVICH; Clifton KARHU; Philip KILNER; Robert KIPNISS; Shodo KOHO; KOGYO; KR8; Edith KUCHLER; Yulia LANGER; Kurt LARISCH; Jack LENOR LARSEN; Nano LOPEZ; Norman MACLEISH; Haku MAKI; Reginald MARSH; Andrew MASINO; Peter MAX; Sheila MCDONALD; Michael MILKIN; Charles MULVEY; Marie MYER; Tom NICHOLAS; Dana Gibson NOBLE; Martha PATTERSON; Frederick PHILLIPS; Jean-Claude PICOT; T.G. POLLARD; Ralph QUACKENBUSH; Norman ROCKWELL; Edward SANDBACK; Vira SCHEIBNER; Harry SEFARBI; SEIHO; Donna STODDARD; Helena STURTEVANT; Van TRUEX; Mia TSCHAMPEL; Danel WALL; G..B. WILHELM; Stanley WILSON; Jane WITHERSPOON; Laura WOODWARD; Tim YANKE; and More…

Lots are being updated daily, check back online for more photos, descriptions, etc. www.BurchardGalleries.com

Live Auction & Online, Live Preview (with Social Distancing, masks optional) Online Bidding Available Now at BurchardGalleries.com

SMALLS: Gio Ponti Murano Glass Pitcher, Lino Tagliapietra Art Glass Egg, Karel Appel Artist Proof Lithograph, Group of Fine 19th C. Bohemian Overlay Glass, Sixth Plate Daguerreotype Photo of Union Soldier, Satsuma Art Pottery, (2) Edison Wax Cylinder Phonographs, Large and Impressive Black Forest Carved Cuckoo Clock, German Wood Carving of Kaiser Wilhelm II, Cobalt Decorated Stoneware Crockery + Much More…

SCULPTURE: “Outlaw” After Frederic Remington, Jean Jules Cambos “La Danse” Bronze, 4ft. Marble Sculpture of Pocahontas, Andor Ruff Bronze Statuette, Bronze Statuette of Diana The Huntress, Eduardo Rossi Marble Bust of Jeunesse, Bronze Bathing Beauty Affixed to Marble Basin…

JEWELRY: 100 Lots of Fine Estate-Fresh Jewelry Including 14k Gold & Turquoise Victorian Brooch, C.B. Stowe 14k Gold Hunter-Case Pocket Watch, Heavy 14k Yellow Gold Charm Bracelet, Parure of 14k Gold & Heart-Shaped Amethyst Jewelry, Platinum 0.5ct Old Mine Cut Diamond Ring, Chunky 18k Gold & Diamond Hinged Bangle Bracelet, Elizabeth Gage 18k Gold Starfish Brooch, Elizabeth Gage 18k Gold Templar Ring, Men’s 10k Gold Lion-Head Ring, Tiffany & Co. 14k Gold Wristwatch + Much More…

SILVER: Gorham “Chantilly Grand” Coffee Pot, William Tenney “Prince Albert” Coin Silver Fish Knife, Fine Gorham “Martele” Bowl, Tiffany & Co. Repousse Shakers, Tiffany & Co. Candlesticks, William Dematteo Compote w/ Stylized Grape Clusters, Gorham Clam Shell Bon-Bon Dish, Unger Brothers Lorgnette, Gorham “Marie Antoinette” Soup Ladle, 1784 London Stephen Adams Ladle, Durgin “Louis XV” Serving Spoon, (6) Tiffany & Co. “Antique Ivy” Forks, (12) Gorham “Buckingham” Pastry Forks…

LIGHTING: Amboy Works Leaded Glass Table Lamp, Tiffany Studios Bronze Lamp Base, Pairpoint Reverse Painted “Daffodil” Table Lamp, Durand Bronze Mounted Art Glass Table Lamp, Stained Glass “Spider Web” Table Lamp, Handel Harp Floor Lamp, (2)Pairpoint Reverse Painted Boudoir Lamps, Figural Art Deco Spelter & Onyx Table Lamp…

FURNITURE: Paul Evans Brutalist “Cityscape” Dining Table, Gustav Stickley Mission Oak Bookcase, 19th C. Tall Case Clock w/ Moon-Phase Dial, William S. Wooton Victorian Walnut Desk, Victorian Walnut 4-Door Bookcase, Ornate Victorian Walnut Lock-Side Chest, Large Victorian Oak Double Side-by-Side China Cabinet, Early 19th C. Chinoiserie Decorated Ladies Work Table, Renaissance Revival Bow-Front China Cabinet…

Cesare Scheggi (Italy, 1833 - 1876)

Lifesize Marble

Wooten & Wooten is thrilled to announce our upcoming Fall catalogue auction featuring the Braford Collection of Natural Bridge, Virginia. This sale features an exceptional and diverse variety of fine objects collected by Peg Braford, and her husband Lloyd, over a lifetime, including excellent garden statuary, Asian antiques, Continental and European art and furniture, distinctive silver and carpets. The auction will also feature an excellent collection of sporting material from a prominient private Eastern Shore of Maryland family. The sale will be posted live online begining Monday, October 7 at 7pm via Liveauctioneers.com and Invaluable.com. Preview for the auction begins Wednesday, October 16 and will continue through Friday, October 18 from noon to 5pm each day. Online bidding, phone bidding, absentee bidding and inhouse live bidding is available. We are honored to handle these fine collections and look forward to sharing this sale with you all! Please call or email our gallery should you have any questions or need assistance along the way.

Jeremy J. Wooten SCAL 3947 SCFL 4116 866-570-0144 info@wootenandwooten.com 818 Broad St Camden, SC

Walter Biggs (Virginia/New York, 1886 - 1968)

Important Work Relating to Charleston, South Carolina

Exceptional Table Top Cabinet by Ferdinando Pogliani (Italy, 1832-1899)

Rare Large Mongolian Silver Jade and Mixed Stone Lidded Box

Brilliant Collection of Antique Garden Statuary & Sculptural Material

Fine Tennessee Federal Cherry Wood Huntboard

Large Collection of Maryland and NC Decoys

Sculpture of Boy Fishing With Cast Net

Collection of Antique Chinese Porcelain and Jade

NETSU K E

TOY TRAIN

Live Auction Only • No Online bidding Attendance a Must! (350+) Lots. Lionel Post War to Modern Era, Some Railking, Williams, K-Line & more. (Many new in boxes or like new) SUNDAY, OCTOBER 13th @ 1pm View 12 Noon VFW Post 5188, 109 Robbins Rd, WALPOLE, MA. Web w/catalog & photos www.gabrielsauctions.com and on Auctionzip.com Office: 638 Washington St., Norwood, MA. 02062 MA.

E D B A R O N A N T I Q U E S

A restored collection of 4 antique gas pumps. Three are 10 gallon pumps and one is 5 gallon, all with a visible tank

Peanut roaster cart vendor older restoration circa 1880s

A painted metal cutout of an MG with bright red neon displayed in a California MG dealership

7 ft teak wood art sculpture of an Indian chief

Guckinhenheimer Pure Rye Whiskey reverse-on glass, w/ original gilded frame

Porsche neon logo

dealership neon window display

1960's restored Cushman Super Silver Eagle

Rare 1970s chase lounge design with leather on mahogany & polished chrome base

Very rare loop around horse ride, in excellent condition, climatecontrolled warehouse

The featured items are a small sneak preview of our upcoming BIG FALL AUCTION ON SATURDAY, OCTOBER 19TH. SCAN the red barcode & sign up today. This is an online event at liveauctioneers.com

Ferrari

Large

Beamed ceilings complete w/a Built-in Antique, Turn-of-the-Century Ice-Cream Soda Fountain & Antique 4 Dispenser Soda Fountain. Unfinished Side w/mechanicals & Sm. Workshop area. 36’ x 15’ Oval in-Ground pool surrounded by Wrought Iron Fencing & Magnificent Mature Hedges, Concrete decking w/Brick accent pavers.

Auctioning On-Site Live & Online @ LiveAuctioneers.com-Following the Auction of the Real Estate on Sat., Oct. 12 to include Furniture: Cherry Corner cupboard, 1796 Oak carved Treasure chest, Victorian easels, 1800’s Cherry secretary desk, 1700’s Cherry Grandfather clock w/wooden works, 3 sec. Hepplewhite Mahogany banquet table, 1929 Chickering Baby Grand piano, Tiger & Bird’s-eye Maple 4 post rope bed, Sgn. Hunzinger pat. March 30, 1869, side chair; Empire Mahogany sewing stand, Cherry Tiger Maple Empire Butler’s desk, 50 drawer Hardware store cabinet, Victorian Walnut dbl. pedestal cylinder roll top desk, Antique Maple Kitchen cabinet w/3-stained glass doors, Tiger Maple 2 drw. Stand, Tiger Maple Fidder’s back settee, Cherry & Tiger Maple 2 pc. Panel corner cupboard, Cherry 2 pc. Corner cupboard, Bird’s-eye Maple step back 2 pc. Empire cupboard, 1700’s Barrel back corner cupboard, Antique McDougall 3 sec. Kitchen cabinet w/porcelain countertop, roll-up door & flour sifter; 8 pane glass door corner cupboard, 2 pc. Mahogany Philadelphia style Chippendale corner cupboard, Tiger Maple turn legs Tavern table, pr. of Windsor hooped back chairs, 2 bow back Windsor chairs, 2 pc. Step back Tiger Maple Kitchen cabinet, Period Queen Anne Tavern table, Pine 6 board dovetail blanket chest, Misson style 2 dr. wardrobe, Mahogany veneer Wm. & Mary 2 pc. Highboy, Period Cherry Queen Anne highboy, Period 2 pc. Cherry Step back cupboard; Folk Art Pottery Face Jugs by: Albert Hodge Newton, Jason Luck, Logan, M Rogers, Sid Luck, ML Ownes, Terry King, Evans Arden, Charles Brown, Ed Redmen, Marvin Bailey, Billy Hussey, Joe Reinhardt, R.E. Albright, Robert Jackson, BB Craig, Charles Lisk, Billy Joe Craven, Bobby Ferguson, Ray Hussey, Tony King, Hale Besmond, Teaque Face Jug “Fred” first snake jug, Mary Livingston; Collectibles; Clocks; Paintings; China/Glassware; Burl Bowls: Rare Antique Burl-18.25” dia. Pedestal bowl, Antique Burl bowl-16.25" dia., Burl bowl-17.5" dia., Maple Burl bowl-16" dia., Maple Burl bowl-14" dia., Burl bowl-12" dia., Burl bowls-10.5", 9.75", 8.5", 7.75", 7.5", 7", 6.75", 6"; NYS Cobalt Blue Decorated

Stoneware: Rare 4 gal. handle cooler jug w/ Fantastic Blue bird in Floral wreath design & others; Books; Auctioning @ 12 Noon: 1929 Franklin Model 135 Hard top convertible coupe w/dual side mounts, dual Chrome horns, dual Tripple Safety Senior driving lights, 80k mi., $70,000 spent on restorations 20 years ago; McShane Bell Foundry Baltimore MD dated 1891, 35"h, 31" dia. Bell w/Clapper & cast iron brackets; Bronze bell Sgn. E. Force, NY 1832; Bronze Bell-Meneely West, Troy, NY 1865; Jones Co. Troy, NY 1882 Bronze bell w/cast iron yoke.

 Auctioning Sunday, Oct. 13, 10 AM OnSite Live & Online @ LiveAuctioneers.com-to include-Furniture : Art

Nouveau Louis Majorelle Marquetry inlaid Bedroom set w/Canopy Bed, dresser w/mirror, vanity w/mirror & chair; Louis Majorelle inlaid parlor table, Queen Anne style highboy w/Rattan front, Tramp Art Childs dresser w/mirror, Tiger Maple & Cherry Empire Butler’s desk, 1700’s wooden works Grandfather clock, Cherry night stand, Cherry & Tiger Maple poster bed, Cherry chest of drawers, Victorian lift top storage box, Marquetry inlaid rocker, Cherry 6 board blanket chest, Flaming Birch Queen Anne highboy, Tiger Maple low poster bed, Cherry top w/Tiger Maple legs stand, Bird’s-eye drop leaf stand w/Tiger Maple drawer, Tiger Maple poster canopy bed, 1880’s Mahogany Veneer Kidney shape vanity w/3 mirrors, Shaker style 1 drw. Stand, patio couch & chair, coffee & end table set, Hepplewhite Cherry graduated drw. Dresser, Cherry 9 pane glass top door & 2 lower panel dr. corner cabinet; Cherry pencil post poster bed; Cherry reeded leg Tiger Maple front stand, Tiger Maple dolls bed, 2 Early 6 board blanket chest; 36 drawer store cabinet; Authentic Louis Vuitton Collection: Early LV 20th Century Trunk-180848; Vintage LV steamer trunk-#740669; 2 LV Alzer 80 Suitcases w/black LV protective cover; 2 LV Alzer 75 Suitcases w/black LV protective cover; 2 LV Alzer 790 Suitcases, 2 LV Alzer 60 Suitcases w/black LV protective cover; LV Cotteville 45 case & LV Cotteville 40 case; LV Jewelry case M47120; LV Man’s briefcase M53020, LV Beauty case M21822; 2 LV Graffiti speedy bags; 100 LV Ladies Shoes-most never worn or like new; 2 LV President Briefcases; LV Boite Falcon Train case; LV Hat case Boite Chapeau-Made by French Co. under special; 4 LV Shoulder makeup bag Train case; Early LV Collar & Cuff Horseshoe shaped box, LV Black Epi Cannes M48037-9; 3 LV Golf club bags; 2 LV Blue Epi Cannes M48037-9; 2 LV Red Epi Cannes M48037-9; 2 LV Tassili Epi Cannes M48037-9; Also Auctioning: Vintage Goyard Paris steamer wardrobe Trunk 233; 2 Goyard round traveling hat boxes; E. Goyard Expandable travel Bag 9; Goyard Paris Zippered Toiletry travel bag; Antique E. Goyard Paris Trunk, Vintage E. Goyard Paris cosmetic case; 4 Halliburton Aluminum suitcases, Halliburton Train case; Young Brother Broadway Top hat in Leather traveling case; Stained Glass windows: Set of 5 Stained glass windows from the old St. Paul’s Catholic church, Black River, NY, Stained Glass of Christ & The Little Children from Marie Regina College, Syracuse, NY-36"w x 80"h in Oak shadow box frame w/Opaque Acrylic behind for support of the leaded glass window; Collectibles;Books; Bringing up Father by Geo McManus books; Villages and Towns of Broome Co.; Johnsons Natural History2 Vol.; Onondaga Centinnel-2 Vol; Cayuga Co-2 Vol; St. Lawrence, NY book; Forts & Firesides of Mohawk Co.; Coverlets ; Instruments; Paintings: Sgn. Michael Keane Painting “Morris Island Evening Calm”; Sgn. Michael Keane Painting “Salt Grass and Cays” 1988; Sgn. James G. Tyler oil on canvas; “Provisioning the Ship in Rough Seas” Sgn. James G. Tyler oil on canvas; Lighthouse & crashing waves w/sailboat; Sgn. James G. Tyler oil of 2 Sailboats onshore; Bird’s-eye view of Centennial Buildings & Grounds Philadelphia 1876; Oil Painting Sgn. Mildred Burgess “Night”; Oil Painting Sgn. WS Powell 1940 Harbor scene, Sgn. Picasso “Bouquet” lithograph; Sgn. R.G. Service painting of Tibbetts Point Lighthouse-Cape Vincent, NY; Sgn. J.G. Tyler (James Gale Tyler) Babbling Brook pastel; J.G. Tyler “Ship in the Night”; Sgn. Albert SZ Nemethy Oil Painting-The Ship Machear ice breaking ship on the Hudson River; Painting of Chrysanthemum by W.R. Willets; Watercolor on paper Sgn. Sorrento; Carriage making William B. Kirk

plus much more!

Bet. W. Sycamore St. & Walnut St., Across from Vogel Park. From NY-26: E. on W. Sycamore St. to L. on N. George St. From NY-46: NW on E. Pine St. to Rt. on N. George St.